Articles/Site Specific

Site Specific Live Electronic Music: A Sound-Artist’s Perspective

This article talk in depth about the relationship between the composer and the actual sounds: as described in the article, new technology is allowing the composer to have tighter control over the audience’s experience.  This has changed the composition model from creating a sort of code for the audience to interpret to creating a much more direct form of communication, with almost all sonic elements purposefully controlled.

Site-Specific Sound Installations in the Urban Environment

The most interesting aspect of this article, in my opinion, was the step by step breakdown of of the artistic process when creating a successful soundscape.  The breakdown was quite logical, though I was surprised to see that ‘compositon’ was given its own step: I’d have thought that the entire process was considered composing.  While the discrepancy may be semantical, I’d be interested to hear others thoughts.


This article forced me to consider who I envision interacting with my own site-specific piece.  Because mine will be located within a few blocks of CMU I can be relatively certain that a fair amount of the people interacting with it will have an affiliation with some university, though any public place has the potential for any audience to fill.

 I chose my site because the reverb in CFA is so dramatic.  The potential for creating vast spatial effects immediately provides a platform for interaction with the space, especially if I am able to place different speakers all around the building.  Compositionally I plan on using a series of time delays between the speakers to create as the widest image possible.


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