Difference between revisions of "Dodecahedron"
(Created page with "Dodecahedron is a proposed acousmatic tape piece for spatialized brass ensemble by Yuval Adler for Music 222 (Sound in Space) during the Spring 2017 offering. The main sonic...") |
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| − | Dodecahedron is | + | Dodecahedron is an acousmatic tape piece for spatialized brass ensemble by Yuval Adler for Music 222 (Sound in Space) during the Spring 2017 offering. |
| − | The main sonic element consists of twelve brasswind parts spatialized in a sphere around the listener. | + | General Idea: |
| + | The main sonic element consists of twelve brasswind parts spatialized in a sphere around the listener. Instead of melodies, the musical material is mainly comprised of sound masses. Each of the twelve parts is recorded separately, and later combined into an equidistant sphere in 3rd order ambisonics. This piece will aim to give greater clarity to an otherwise dense musical mass of sounds by separating them in space, and to add a new dimension of progress to a piece which has no melodic changes. | ||
| − | + | Musical Form: | |
| + | The first part of the composition reveals the twelve parts in different combinations until all twelve parts are playing a dense cluster of semi-tones. The center of mass of the soundfield changes according to which parts are playing in any given moment. In the second part the sphere of sounds goes through different spatial manipulations to focus the sounds in different areas around the audience, again moving the center of mass of the soundfield, this time as a cohesive whole that is mathematically manipulated in ambisonics. In the third part the soundfield is manipulated by having the sound sources go through an interplay of changes in distance and recorded loudness. | ||
Revision as of 19:27, 14 May 2017
Dodecahedron is an acousmatic tape piece for spatialized brass ensemble by Yuval Adler for Music 222 (Sound in Space) during the Spring 2017 offering.
General Idea: The main sonic element consists of twelve brasswind parts spatialized in a sphere around the listener. Instead of melodies, the musical material is mainly comprised of sound masses. Each of the twelve parts is recorded separately, and later combined into an equidistant sphere in 3rd order ambisonics. This piece will aim to give greater clarity to an otherwise dense musical mass of sounds by separating them in space, and to add a new dimension of progress to a piece which has no melodic changes.
Musical Form: The first part of the composition reveals the twelve parts in different combinations until all twelve parts are playing a dense cluster of semi-tones. The center of mass of the soundfield changes according to which parts are playing in any given moment. In the second part the sphere of sounds goes through different spatial manipulations to focus the sounds in different areas around the audience, again moving the center of mass of the soundfield, this time as a cohesive whole that is mathematically manipulated in ambisonics. In the third part the soundfield is manipulated by having the sound sources go through an interplay of changes in distance and recorded loudness.
