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Spatial Sound Performances in Classical Music

Year 2020, Winter, 378 - 389, 15.03.2020
https://doi.org/10.21733/ibad.673158

Abstract

Spatial is related to multi-dimensionality in nature. Spatial sound is perceived in three dimensions in relationship with the source location. Thus, spatial sound perception provides the location of sound source. In other words, this capability of localizing sound in space is often referred to as spatial sound. In music technology, spatial sound, which is introduced to the listener through various techniques such as mono, stereo, quadro, ambio, surround etc., is in the domain of spatial audio studies. Hundreds of years ago, when there was no concept of music technology yet, spatial sound was practiced by a number of classical music composers. Giovanni Gabrieli, in the 16th century, splits the choir in two groups named "cori spezzati" similar to the stereo technique. The Baroque period composer Vivaldi’s “per eco in lontano” can be regarded as the first spatial sound performance with echo technique on a concert hall. In the history of classical music, Classical period composers Haydn and Mozart, Romantic period composers Berlioz and Mahler, and 20th century composers Ives and Stockhausen have composed some pieces which can also be considered as spatial sound performances. In this study, the relationship between classical music composers above and their performances connected with spatial sound will be discussed, examining the original parts of their music and establishing a connection with between their performances and dimensionality. The result of this study points out that some classical music composers can consciously raise awareness in the audience by presenting spatial sounds in their music.

References

  • Angelini, A. (2014). From Willaert to Monteverdi:Choral Music in Venice during the Renaissance. https://tr.scribd.com/document/248155149
  • Apel, W. (1968). Harvard Dictionary of Music. 20th Printing Edition, Harvard University Press
  • Begault, D. R. (2000). 3D Sound for Virtual Reality and Multimedia. Moffett Field, CA: National Aeronautics and Space Administration.
  • Blauert, J. (1983). Spatial Hearing. Cambridge MA: MIT Press
  • Bloom, P. (1998). The Life of Berlio. Cambridge: Cambridge University Press
  • Bryant, D. (1981). “The 'Cori Spezzati' of St. Mark’s: Myth and Reality.” Early Music History 1: 165-86. Stable URL: http://www.jstor.org/stable/853747
  • Clozier C. and Olsson J. (2001), The Gmebaphone Concept and the Cybernéphone Instrument. Computer Music Journal 25: 81-90
  • Cook, N. (2007). The Schenker Project: Culture, Race, and Music Theory in Fin-de-Siecle Vienna, Oxford University Press.
  • DK Authors (2018). The Classical Music Book: Big Ideas Simply Explained. New York: DK Publishing
  • Erkal, F. E. ve Yürekli F. (2007). Müziksel Ses-Mekan İlişkisinde Dokunsal Bir Beden-Mekan Matrisinin Doğuşu. İTÜ Dergisi 6: s41-46
  • Fenlon, I. (1993). St. Mark's Before Willaert. Early Music History 21: 546-563, Stable URL: http://www.jstor.org/stable/3128365
  • Gerzon, M. A. (1977). Periphony: With-Height Sound Reproduction. Journal of Audio Engineering Society V21: pp. 2–10.
  • He, J. (2017). Spatial Audio Reproduction with Primary Ambient Extraction, ISBN: 978-981-10-1551-9 (e-book), pp. 136, Springer Singapore
  • Heller, K. (1997). Antonio Vivaldi: The Red Priest of Venice, English language ed. Portland, Ore: Amadeus Press
  • Holman, P. (1994). Mystery Man. Peter Holman Celebrates the 350th Anniversary of the Birth of Heinrich Biber. The Musical Times V.135: pp. 437-441
  • Huscher, P. (2000). Program Notes: W. A. Mozart-Notturno in D Major, K. 286, Chicago Symphony Orchestra
  • King, R. (2016). Recording Orchestra and Other Classical Music Ensembles, ISBN/EAN: 9781138854536, Taylor & Francis Ltd.
  • McDonald, M. (2004). Silent Narration: Elements of Narrative in Ives’s The Unanswered Question. 19th-Century Music V.27: pp. 263–286.
  • Roginska, A. and Geluso P. (2017). Immersive Sound: The Art and Science of Binaural and Multi-Channel Audio, ISBN-13: 978-1138900011, Focal Press
  • Rumsey F. (2001). Spatial Audio, 1 Edt., ISBN-10: 0240516230, pp.256, Focal Press, Oxford and Boston
  • Stevens D. (1982). A Song of Fortie Parts, Made by Mr. Tallys. Early Music History V.10: pp. 171–182
  • Wigfield, B. (2016). The Sacred Music of Antonio Lotti: Idiom and Influence of a Venetian Master.” PhD Thesis, The Open University, UK. Stable URL: http://www.oro.open.ac.uk
  • Zvonar, R. (2006). A History of Spatial Music, eContact! 7(4). URL: http://econtact.ca/7_4/zvonar_spatialmusic.html

Klasik Batı Müziği Yaratılarında Boyutsal Seslendirme

Year 2020, Winter, 378 - 389, 15.03.2020
https://doi.org/10.21733/ibad.673158

Abstract

Seste boyutsallık algıda şekillenen bir bileşen, bir oluşumdur. Ses kaynağı nerede olursa olsun, iki kulağın aralarındaki yüz engelli mesafesi ve buna bağlı olarak ortaya çıkan işitmedeki zamansal gecikme algıda boyutsallığı yaratır ve boyutsal algılama, insanda ses kaynağı konumunun tespitini sağlar. Seste boyutsal algılamanın günümüz müzik endüstrisinde bilinen karşılığı genelde teknolojiktir. Kaydedilen müzik mono’dan surround’a kadar çeşitli teknolojik yöntemlerle işlemden geçirilerek tüketiciye sunulur. Ses kayıt tarihinde bu süreç mono ile başlayarak günümüzde atmos’a kadar ulaşmıştır. Oysa doğal bir oluşum olan sesteki boyutsallığın bugün herkes tarafından yukarıdaki terimlerle aranan teknolojik halleri, bundan yüzlerce yıl önce batı müziği bağdarlarının bir kısmı tarafından dinleyiciye zaten sunulmaktaydı. 16. yüzyılda Giovanni Gabrieli’nin koroyu ikiye bölerek “cori spezzati” tekniğiyle sunduğu yaratılarında stereo tekniği yatmaktadır. Barok dönemde Vivaldi “per eco in lontano (uzaktaki yankı)” adlı Konçertosuyla ilk surround seslendirme örneklerini sunmuştur. Klasik dönemde Haydn ve Mozart, Romantik dönemde Berlioz ve sonraki dönemlerde Ives ve Stockhousen, henüz ortada kayıt kavramı bile yokken dinleyicilere seslendirmede boyutsallığı niteler yaratılar bağdamışlardır. Bu çalışmada, yukarıda sözü edilen bağdarlarla birlikte batı müziği yaratılarında boyutsallığı işleyen diğer bağdar ve yaratıları araştırılmış, elde edilen verilerle imkanlar çerçevesinde bağdarların orijinal partitürleri incelenmiş ve kısaca, müzik teorileri kapsamında boyutsal yaratı olma özelliği taşıyan müzikler analiz edilerek seslendirme örnekleri sunulmuştur. Her ne kadar bu türden yaratılar kendi içlerinde çeşitli nedenlerle açıklanabilir olsalar da yaratıların seslendirimleri incelendiğinde insandaki boyutsal algılama kaygısını ortaya çıkarabilen niteliklerinin de olduğu ortadadır.

References

  • Angelini, A. (2014). From Willaert to Monteverdi:Choral Music in Venice during the Renaissance. https://tr.scribd.com/document/248155149
  • Apel, W. (1968). Harvard Dictionary of Music. 20th Printing Edition, Harvard University Press
  • Begault, D. R. (2000). 3D Sound for Virtual Reality and Multimedia. Moffett Field, CA: National Aeronautics and Space Administration.
  • Blauert, J. (1983). Spatial Hearing. Cambridge MA: MIT Press
  • Bloom, P. (1998). The Life of Berlio. Cambridge: Cambridge University Press
  • Bryant, D. (1981). “The 'Cori Spezzati' of St. Mark’s: Myth and Reality.” Early Music History 1: 165-86. Stable URL: http://www.jstor.org/stable/853747
  • Clozier C. and Olsson J. (2001), The Gmebaphone Concept and the Cybernéphone Instrument. Computer Music Journal 25: 81-90
  • Cook, N. (2007). The Schenker Project: Culture, Race, and Music Theory in Fin-de-Siecle Vienna, Oxford University Press.
  • DK Authors (2018). The Classical Music Book: Big Ideas Simply Explained. New York: DK Publishing
  • Erkal, F. E. ve Yürekli F. (2007). Müziksel Ses-Mekan İlişkisinde Dokunsal Bir Beden-Mekan Matrisinin Doğuşu. İTÜ Dergisi 6: s41-46
  • Fenlon, I. (1993). St. Mark's Before Willaert. Early Music History 21: 546-563, Stable URL: http://www.jstor.org/stable/3128365
  • Gerzon, M. A. (1977). Periphony: With-Height Sound Reproduction. Journal of Audio Engineering Society V21: pp. 2–10.
  • He, J. (2017). Spatial Audio Reproduction with Primary Ambient Extraction, ISBN: 978-981-10-1551-9 (e-book), pp. 136, Springer Singapore
  • Heller, K. (1997). Antonio Vivaldi: The Red Priest of Venice, English language ed. Portland, Ore: Amadeus Press
  • Holman, P. (1994). Mystery Man. Peter Holman Celebrates the 350th Anniversary of the Birth of Heinrich Biber. The Musical Times V.135: pp. 437-441
  • Huscher, P. (2000). Program Notes: W. A. Mozart-Notturno in D Major, K. 286, Chicago Symphony Orchestra
  • King, R. (2016). Recording Orchestra and Other Classical Music Ensembles, ISBN/EAN: 9781138854536, Taylor & Francis Ltd.
  • McDonald, M. (2004). Silent Narration: Elements of Narrative in Ives’s The Unanswered Question. 19th-Century Music V.27: pp. 263–286.
  • Roginska, A. and Geluso P. (2017). Immersive Sound: The Art and Science of Binaural and Multi-Channel Audio, ISBN-13: 978-1138900011, Focal Press
  • Rumsey F. (2001). Spatial Audio, 1 Edt., ISBN-10: 0240516230, pp.256, Focal Press, Oxford and Boston
  • Stevens D. (1982). A Song of Fortie Parts, Made by Mr. Tallys. Early Music History V.10: pp. 171–182
  • Wigfield, B. (2016). The Sacred Music of Antonio Lotti: Idiom and Influence of a Venetian Master.” PhD Thesis, The Open University, UK. Stable URL: http://www.oro.open.ac.uk
  • Zvonar, R. (2006). A History of Spatial Music, eContact! 7(4). URL: http://econtact.ca/7_4/zvonar_spatialmusic.html
There are 23 citations in total.

Details

Primary Language English
Journal Section Original Articles
Authors

Cihan Işıkhan 0000-0002-1248-3121

Publication Date March 15, 2020
Acceptance Date January 27, 2020
Published in Issue Year 2020 Winter

Cite

APA Işıkhan, C. (2020). Spatial Sound Performances in Classical Music. IBAD Sosyal Bilimler Dergisi(6), 378-389. https://doi.org/10.21733/ibad.673158

IBAD Sosyal Bilimler Dergisi / IBAD Journal of Social Sciences / IBAD

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