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.
MODELLING THE SHOPPING SOUNDSCAPE
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.