Composing for a Space

Among the many things that the lab section is working on to augment our performance with novel instruments and compositional mediums is a project involving the conversion of our classroom into a suitable Ambisonic environment. Ambisonics--meaning "surround sound"--is a step beyond the typical 5.1 surround configurations that we've been exposed to, and ultimately masks the location of the speakers, allowing the sound to exist in a parameterized position in three-dimensional space. It also requires a crap-ton of speakers.

What will this technology mean for our performance? At a minimum, it will allow us to use the space that we play in as a compositional medium in itself by prescribing sonic elements motion and location on the surface of a hemisphere surrounding the audience. If realistic distance cues can be created, we may even be able to use the entire space of the audience. The project will take time to implement, but in the mean time I challenge everyone to think about a new compositional consideration: where in space does my sound fit? Is it bouncing around exuberantly? Descending around the audience? Gently hovering above them? Similar to how animation techniques can give a character personality, this extra dimension can shape how a sound is perceived--including its emotional context. Of course, being able to use this spatialization technology does not mean we should use it for every song or every part, so just as with our choice of timbre and layering we will have to exercise our judgment in using this new tool.