Woche (with apologies to Ruttmann and Brock)

TY - ADVS

T1 - Woche (with apologies to Ruttmann and Brock)

AU - Barnard, Matthew

PY - 2019

Y1 - 2019

N2 - This composition represents an exploration and animation of an aesthetic framework outlined by the composer in previous research. The in-ear binaural method of recording and reproduction (and its headphone-based dissemination) is the focus of critical engagement, with an identification of a peculiar, participatory recording and listening method leading to novel aesthetic strands. Several research strands are exemplified and synthesised in this longform acousmatic musical work, representing the pinnacle of the research to date, including primarily those of: binaural negative space, the spatial opposition of the recordist and listener (Barnard 2010, 39) and its subsequent extension and relation to Merleau-Ponty (Emam 2013, 3) through reduction of distance (Merleau-Ponty 2011, 305); the earshot aesthetic that emerges from the context-rich, indiscriminate spatial sampling of the method (Barnard 2010, 42) and the broader truth that it permits (Weidenaar 2002, 66); and the extended spatial register of the binaural method and the dynamic affordance of internalised and externalised imagery (Barnard 2010, 37), as the collapsed monophonic space of the deteriorated tape of Ruttman’s ‘Wochenende’ (1930) and the clarity of the binaural circumspace (Smalley 2007, 51) is explored in an overt exchange of gestures, as the sonic typologies of Ruttman’s 1930 analogue original are mimicked and reinterpreted. Barnard, Matthew. 2010. “The Sounds of Displacement.” PhD diss., University of Hull. Emam, Tariq. 2013. "The Philosophy Of Binaural Music". In Symposium For Acoustic Ecology. University of Kent. Merleau-Ponty, Maurice. 2011. Phenomenology Of Perception. London: Routledge. Smalley, Denis. 2007. “Space-form and the acousmatic image”. Organised Sound 12 (1): 35-58. Weidenaar, Reynold. 2002. “Composing with the Soundscape of Jones Street”. Organised Sound 7 (1): 65-72.

AB - This composition represents an exploration and animation of an aesthetic framework outlined by the composer in previous research. The in-ear binaural method of recording and reproduction (and its headphone-based dissemination) is the focus of critical engagement, with an identification of a peculiar, participatory recording and listening method leading to novel aesthetic strands. Several research strands are exemplified and synthesised in this longform acousmatic musical work, representing the pinnacle of the research to date, including primarily those of: binaural negative space, the spatial opposition of the recordist and listener (Barnard 2010, 39) and its subsequent extension and relation to Merleau-Ponty (Emam 2013, 3) through reduction of distance (Merleau-Ponty 2011, 305); the earshot aesthetic that emerges from the context-rich, indiscriminate spatial sampling of the method (Barnard 2010, 42) and the broader truth that it permits (Weidenaar 2002, 66); and the extended spatial register of the binaural method and the dynamic affordance of internalised and externalised imagery (Barnard 2010, 37), as the collapsed monophonic space of the deteriorated tape of Ruttman’s ‘Wochenende’ (1930) and the clarity of the binaural circumspace (Smalley 2007, 51) is explored in an overt exchange of gestures, as the sonic typologies of Ruttman’s 1930 analogue original are mimicked and reinterpreted. Barnard, Matthew. 2010. “The Sounds of Displacement.” PhD diss., University of Hull. Emam, Tariq. 2013. "The Philosophy Of Binaural Music". In Symposium For Acoustic Ecology. University of Kent. Merleau-Ponty, Maurice. 2011. Phenomenology Of Perception. London: Routledge. Smalley, Denis. 2007. “Space-form and the acousmatic image”. Organised Sound 12 (1): 35-58. Weidenaar, Reynold. 2002. “Composing with the Soundscape of Jones Street”. Organised Sound 7 (1): 65-72.

M3 - Composition

ER -