(64)L'espace composé dans l'acousmatique multicanal
4. Composed Space in the Multichannel Acousmatic Idiom (64)
4.3.2. Three-dimensional space in Ether
(72) Du fait de la plurivocité de l’acousmatique multicanal, l’espace tridimensionnel ne se prête pas aisément à la perception sous forme d’une suite d’images spatiales stéréophoniques. Cependant, de telles images peuvent être perçues quand le flux sonore est organisé sous forme de paires de canaux stéréophoniques, et ce d’autant plus que les paires en question sont situées en avant de l’auditeur. Ainsi, par contraste avec les transcriptions de Chat Noir, les images spatiales d’Ether ne représentent pas une image sonore stéréophonique unifiée, du point de vue de la proximité des canaux par rapport à l’auditeur, mais par rapport à la position de chaque haut-parleur.
Due to the manifold nature of the idiom, three-dimensional space in a multichannel acousmatic work does not automatically lend itself to being perceived as a series of stereo spatial images. However, stereo spatial images can be perceived when the sounding flow is organised in stereo pairs of channels, and particularly when the pairs are delivered by loudspeakers in front of the listener. Thus, in contrast to the spatial images of Chat Noir, the spatial images of Ether do not represent a unified stereo sound image from the point of view of proximity to the listener. Instead, the spatial images are represented according to the position of each loudspeaker. (72) Since the loudspeaker and channel numbers are synonymous in Ether, the sounding flow is addressed according to the channel number. For the sake of practicality, sounds are identified by name in one location on each scored subsection, even though they are often audible, simultaneously, in several channels as illustrated in the scores. As a prelude to the discussion, snapshots of the six scored subsections are grouped together in Figure 9, giving an overview of three-dimensional space from 0” to 56”.
00” to 06”
06” to 20”
20” to 30”
30” to 40”
40” to 50”
50” to 56”
Figure 9. Three-dimensional space in Ether from 0” to 56” as illustrated
through snapshots of the six scored subsections
First subsection: 00” – 06”
Figure 10. Three-dimensional space in Ether from 00” to 06” [enlarge] Sound example 4: Ether 00” to 06”
(73)Ether m’a été inspirée par l’état fluide et le contexte spatial omniprésent attribués à l’éther, considéré historiquement comme « les régions supérieures de l’air » (Oxford, 1996 : 334). Le cadre de l’œuvre consiste donc d’abord en un espace vide, très large. L’énergie, qui apparaît sous forme de son, émane du centre de l’espace et suit une double spirale vers l’extérieur, dans des directions opposées.
The inspiration for Ether is derived from the fluid-like state and omnipresent spatial context ascribed to ether, historically considered as “the upper regions of air” (Oxford, 1996: 334). The frame for the work thus initially consists of a vast, empty space. Energy, which appears in the form of sound, springs from the centre of the space and spirals outwards in opposite directions. (73)
Figure 10 illustrates the energy-motion trajectories in the first subsection (00” – 06”) in three-dimensional space, where the percussion/resonance in stereo (sound Ia, in orange), can be perceived to be spring-loaded and discharged in channels 5 and 6. Sound IIa (in purple), also in stereo, can be perceived as a transparent, gaseous sound-shape that encircles and permeates sound Ia in channels 5 and 6. These two spectromorphologies can be heard in stereo at 1” in channels 1 and 4, and at a lower volume in, stereo, in channels 7 and 8. At 2” they become audible, also in stereo, in channels 2 and 3. From 3” – 6” the volume of the sounding flow diminishes slightly in channels 5 and 6, and increases slightly in the other six channels.[1]
The three-dimensional spatial movement of the sounding flow is designed to represent the initial semi-circular trajectories of a double spiral. The upward blue arrows starting at channel 5 and the downward green arrows starting at channel 6 illustrate the direction and dimensions of each spiral, which if continued, would depict continuous circular motion of a decreasing order that would terminate in locations approximately 2.5 metres in front of and behind the listener. Although the listener may perceive the three-dimensional spatial movement of the sounding flow in the form of one or two circles, three criteria invite the perception of the spiral form.
(1) The sound material in channels 1, 7, and 2 replicates the sound material on channel 5 (the left side of the stereo image), and the sound material in channels 4, 8, and 3 replicates the sound material on channel 6 (the right side of the stereo image), creating two subtly organic three-dimensional spatial zones.
(2) The sounding flow is louder in channels 1 and 4 than in channels 2 and 3, which helps to emphasize the existence of the two zones and is intended to direct the listening consciousness in a clockwise motion for each zone.
(3) The loudspeaker positions do not form a double circle. The intended imaginary trajectories from channel 2 to channel 5, and from channel 3 to channel 6, while although longer than existing trajectories, impart a smaller circumference, and, hence, the beginning of a double spiral. The beginnings of double spiral trajectories, as represented with other percussion/resonances appear in Ether at 58”, at 3’52”, and, again, at 5’01”.
Second subsection: 06” – 20”
Figure 11. Three-dimensional space in Ether from 06” to 20” [enlarge] Sound example 5: Ether 06” to 20”
(74) La figure 11 illustre la trajectoire énergétique dans la deuxième sous-section, de 06” à 20”. Dans cette sous-section, la spirale initiale du flux sonore cède la place à une organisation spatiale fondée sur des paires stéréophoniques.
(75) La superposition des contextes spatiaux est inspirée par l’idée que l’énergie, émanant du centre et irradiant vers l’extérieur, se développe en deux types distincts, incarnés dans la percussion-résonance initiale. Le premier type d’énergie consiste en des formes sonores sculptées, au contenu spectral délimité, et se manifeste dans la série des trois sons à hauteur déterminée (Ib, en bleu clair). Le deuxième type d’énergie consiste en des morphologies aux contours plus vagues, au contenu spectral complexe et/ou variable, et dont la faible viscosité les rend plus propices à la dispersion dans l’espace.
Figure 11 illustrates the energy-motion trajectories in the second subsection from 06” – 20”. In the second subsection, the initial spiral-like organisation of the sounding flow gives way to a spatial organisation created by stereo pairs of channels (74) that, with the exception of channels 5 and 6, are differently grouped. For example, channel 1 is grouped with channel 2, channel 3 with channel 4, and channel 7 with channel 8. In the second subsection, new sound material is superimposed onto the diminishing resonance of sound Ia, following the new spatial organisation.
The superimposition of spatial contexts is inspired by the idea that as energy radiates out from the centre it develops into two distinct types embodied by the initial percussion/resonance. The first energy type comprises sculpted morphological shapes with a circumscribed spectral content as conveyed by the series of three pitched sounds (Ib, in light blue). The second energy type is represented by vaguely delineated morphological shapes that possess a complex and/or variable spectral content, low viscosity, and, therefore, are prone to disperse in space. (75) It is notable that the two energy types were conceived from a three-dimensional spatial perspective, which prompted their inclusion in this discussion. The transparent, gaseous sound-shape, (IIa, in purple) represents the second energy type in the second subsection because its inherent fluidity can be perceived to outstrip its pitched quality. The dual inharmonic canopy (sound IIIa, in light and dark yellow) and the soft pedal (IIIb, in brown) also represent the second energy type. Similar to sound Ia (in orange), the timbrally rich yet opaque percussion/resonance (Ic, in dark green) embodies both energy types – an incisive attack followed by a resonance that disperses in space. With the exception of the beginning of the rich, brassy sound (Id, in red dots), all sounds are simultaneously audible in the four stereo pairs of channels throughout this subsection, albeit with subtly different amplitude levels. In the second subsection, the sounding flow, which is almost spatially uniform, inhabits the space left by the initial percussion/resonance. This state of momentary sonic omnipresence is also intended to reflect my image of the omnipresent spatial qualities attributed to ether.
Third subsection: 20” – 30”
Figure 12. Three-dimensional space in Ether from 20” to 30” [enlarge] Sound example 6: Ether 20” to 30”
(76) En l’absence du son Ia dans la troisième sous-section, illustrée dans la figure 12, d’autres formes sonores continuent de se développer selon les deux types d’énergie.
In the absence of sound Ia in the third subsection, illustrated in Figure 12, other sound-shapes continue to develop as proposed by the two energy types. (76) Additionally, in contrast to the second subsection, sound material is sometimes not simultaneously audible in all four stereo pairs. However, when it is simultaneously audible, it is more prominent in specific pairs. For example, the pitched series (Ib, in light blue) and sound Ie (in dark blue), are louder on channels 1 and 2, a situation that is repeated with sound IIa (the purple, gaseous form) on channels 5 and 6, and with sound Id (in red) on channels 7 and 8.
As previously discussed in the spectral score (Figure 8), the rich, brassy spectromorphology (sound Id, in red) becomes louder in the third subsection, swelling to the perceptual foreground at 24” on channels 7 and 8 (pitch F3). Sound Id exemplifies the second type of energy because, aside from its brief, billowy surge at 24”, it possesses a non-delineated, fluid, morphological shape. Further, as audible within the three-dimensional spatial multichannel context, Id only seems to convey pitch at 24”. The shiny, pitched spectromorphological orb, (sound Ie, in dark blue), also exemplifies the second type of energy through its morphology – which resembles an energetic surge – and its complex spectral character, which unites the aural equivalent of a mother-of-pearl type of iridescence and pitch. The embodiment of sound in the form of the second energy type also becomes more pronounced in sound material previously introduced. For example, the sustained canopy (IIIa, in light and dark yellow) surges more frequently in the third subsection, radiating ‘clouds’ of hiss and ‘showers’ of beads in space, and the low-pitched pedal (IIIb, in brown), becomes louder and begins to pulse.
Fourth subsection: 30” – 40”
Figure 13. Three-dimensional space in Ether from 30” to 40” [enlarge] Sound example 7: Ether 30” to 40”
(77) Comme on l’a dit plus haut, l’un des attributs les plus marquants de la quatrième sous-section, illustré dans la figure 13, est la transformation morphologique du son IIa (en violet).
(78) On peut être intrigué, en ce qui concerne l’espace tridimensionnel dans cette quatrième sous-section, par l’existence simultané des deux types d’énergie, représentés par le son IIa dans sa forme gazeuse initiale sur les canaux 5, 6, 7 et 8, et par ce même son dans sa forme incisive, itérative sur les canaux 1, 2, 3 et 4.
As previously discussed, one of the most striking attributes of the fourth subsection, depicted by Figure 13, is the morphological transformation of sound IIa (in purple). (77) From the perspective of the two energy types, sound IIa evolves from the second energy type, in the form of a sustained, pitched, translucent shape, to the first energy type, in the form of a rhythmically fragmented, repeated sound-shape, which conveys the pitch G#4 in an insistent manner. Sound IIa can be perceived in its two guises during this subsection (in purple swirls and short purple lines).
As a further development to a previous trend, sound material is often not simultaneously audible in all four stereo pairs. For example, the fading resonance of sound Id (in red) is only present in channels 7 and 8, and the last trace of sound Ie (in dark blue) is only present in channels 1 and 2. However, one of the most intriguing aspects of three-dimensional space in the fourth subsection is the existence of the two distinct types of energy simultaneously represented by sound IIa, in its initial, gaseous form, in channels 5, 6, 7 and 8, and by sound IIa in its incisive, repeated form in channels 1, 2, 3, and 4. (78)
Fifth subsection: 40” – 50”
Figure 14. Three-dimensional space in Ether from 40” to 50” [enlarge] Sound example 8: Ether 40” to 50”
(79) La figure 14 illustre les trajectoires dans la cinquième sous-section d’Ether, de 40” à 50”.
Figure 14 illustrates the energy-motion trajectories in the fifth subsection of Ether, from 40” to 50”. (79) In this section, the two guises of IIa (in purple swirls and short purple lines) provide a morphologically heterogeneous backdrop to the first energy type as represented by the series of five pitched sounds (If, in light green) and the hovering/cantering pitched sound-shape (IIb, in pink). The omnipresent pedal (sound IIIb, in brown dots) and the dual canopies (IIIa, in light and dark yellow) provide a malleable, yet ongoing three-dimensional spatial frame which circumscribes sounds If and IIb in channels 1, 2, 3, and 4.
Sixth subsection: 50” – 56”
Figure 15. Three-dimensional space in Ether from 50” to 56” [enlarge] Sound example 9: Ether 50” to 56”
(80) Dans la sixième sous-section, illustrée par la figure 15, les composants de l’univers sonore précédent – notamment les sons If (en vert clair) et IIb (en rose) – se désintègrent l’un après l’autre.
In the sixth subsection, depicted by Figure 15, the components of the preceding sonic universe, including sound If (in light green) and sound IIb (in pink) melt away consecutively. (80) The hovering/cantering pitched sound-shape (IIb, in pink) then recedes, and the incisive, repeated form of sound IIa (in short purple lines) finally dissolves, its sonic embers neutralised and washed away by the three-dimensional inharmonic canopy – ether.
[1] When logistics render it impossible to respect the octophonic loudspeaker set up for Ether for concert performance an alternate loudspeaker set up, where the loudspeakers are organised in stereo pairs, is permitted. However, the stereo pairing of loudspeakers/channels does change the spatial layout dramatically and results in a distortion of the spiral at the beginning of the work.
