Troy, NY — If you’ve spent any time at children’s birthday parties, you probably know what an inflated balloon sounds like when rubbed: harsh, squeaky, not particularly resonant.
“Rubbed-balloon sound” [used in Topology Chamber 2] might not seem like a sonic texture you’d place much stock in if you were creating a musical work. But how would that change if you were listening from inside the balloon? The composer Natasha Barrett decided to answer the question. She put a 3-D microphone in a balloon, pressed the record button and got down to some serious rubbing.
On Monday morning, at a “spatial audio” lecture at
As Ms Barrett’s 3-D audio file was piped into the loudspeakers — there are 64, positioned both around and over listeners — the sound of her balloon manipulations was enveloping. Smeared textures whipped around listeners’ heads along a wild variety of trajectories. Variations of pressure and phrase-length registered as legitimately musical. Discrete lines of vibration converged, with a triumphant air, before splitting apart again.
But there wasn’t much time to linger over Ms Barrett’s startling spatialized recording. Presenters and participants at
One goal of the workshop, the first of its kind at
On Monday evening, the first concert was led, as was that morning’s lecture, by Markus Noisternig, an artist in residence at
The wave system, a modular array of more than 500 speakers, uses acoustical trickery to reproduce organic sounds with unusually high fidelity. It can also “place” (and seem to move, quickly) those eerily lifelike tones at specific coordinates. Any but the most superficial kind of explanation of how this is possible tends to involve high math (like Bessel functions). But if you had to describe the effect, you might go for trippy and exciting.
Toying with spatially separated sounds is not a new fascination for composers. The conductor Alan Gilbert charted a lineage of such explorations in a 2012 New York Philharmonic concert, from a portion of Mozart’s Don Giovanni to works by Karlheinz Stockhausen and Pierre Boulez. (Boulez being, not at all coincidentally, the founder of
Systems like Wave Field Synthesis can also change approaches to pieces conceived using earlier technologies. A highlight on Monday night was Mr Noisternig’s presentation of Ricercare una melodia, by the composer Jonathan Harvey. This 1984 work was originally scored for a live trombone player and tape delay (with speakers bordering the audience on two sides). In what he called a new interpretation, Mr Noisternig looped the live playing of the trombonist Benny Sluchin using a 248-speaker section of
So, do you need a fancy hall with spatial-audio bells and whistles to appreciate these sounds? In an interview, Mr Noisternig said that the true nature of such pieces could not be appreciated in traditional stereo mixes. There are headphones capable of simulating 3-D audio — made more accessible by the boom in virtual reality technology — but they, too, provide only approximations of the concert hall experience.
He Slowly Fell and Transformed into the Terrain, a 2016 piece by Ms Barrett, received its American premiere on Monday night, courtesy of 49 speakers in
Ms Barrett has posted an excerpt from a stereo mix-down to her SoundCloud account. You can listen and get an idea of her skills with dramatic build and textural variation. But as she notes on the site, about the stereo reduction (from 49 channels to two), “Mastering really tricky for this.”
During daytime studio sessions, the workshop’s participants developed their own approaches to the surround-sound systems installed in
Near the speaker array, it sounded as if different versions of Mr Braxton were zooming through space at superhuman speed, as a grinning Mr Testa dragged and dropped the “point sources” of the virtual Braxtons with the click of a mouse. After the session, Mr Testa noted that those effects had dovetailed nicely with some of Mr Braxton’s ideas, like the immersive sound environment of his Echo Echo Mirror House system, in which musicians sample vintage Braxton recordings while also navigating new scores, creating a vertiginous blur of past and present playing.
Mr Testa’s early experiments in the
Like the ingenious musicality of Ms Barrett’s balloon experiments, insights about spatial sound may seem intuitive after the fact. But as organizers at