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Abstract
The main purpose of this work is to outline some compositional techniques that have dealt with the dynamic reality of sound in space in various ways. Transcription of processes such as acceleration, Doppler effect, and sound trajectories, and the way of dealing with time and musical sources in space in instrumental music are the body of my first chapter, in which I will refer as well to the tradition of dynamic musical thinking of Xenakis, and the particular approach of Julio Estrada. The second chapter will comment these same concerns from the point of view of electronic music, concentrating on sound routing techniques for multi-track works projected in space. The structures for controlling dynamically routes of sound are the subject of study, from the pre-conceived composed almost architectural organized sound of Varèse’s Poème Electronique to the French “Acousmatique” tradition (which include a live performer controlling this routes) to more recent methods such as spectral panning or more classical ones as the use of correlated and uncorrelated random routed in space. The third chapter will focus on the use of space as an instrument itself, and as a control interface, and will highlight some interesting use of microphonic techniques mainly in the live electronics context.
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References
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