Article Author

John Coulter (15/1)

Electroacoustic Music With Moving Images: the art of media pairing

16 Movie examples (all excerpts from unpublished works by John Coulter 2005–2009)

Movie example 1: early version of Shifting Ground (2005) – 0′51″

Movie example 2: Shifting Ground (2005) – 1′26″ (duration of work 17′00″)

Movie example 3: Shifting Ground (2005) – 0′47″

Movie example 4: Shifting Ground (2005) – 0′33″

Movie example 5: contraction of Mouth Piece (2008) – 1′06″ (duration of work 10′00″)

Movie example 6: early version of Mouth Piece (2008) – 0′43″

Movie example 7: experimental material from Abide With Me (2009) – 0′40″

Movie example 8: experimental material from Abide With Me (2009) – 0′21″

Movie example 9: early version of Abide With Me (2009) – 0′55″

Movie example 10: Abide With Me (2009) – 3′31″ (duration of work 11′00″)

Movie example 11: Eyepiece (2009) – 0′23″ (interactive installation)

Movie example 12: experimental material from Eyepiece (2009) – 0′24″

Movie example 13: experimental material from Eyepiece (2009) – 0′24″

Movie example 14: experimental material from Eyepiece (2009) – 0′24″

Movie example 15: experimental material from Eyepiece (2009) – 0′24″

Movie example 16: Eyepiece (2009) – 2′09″ (from live interactive session)

Lasse Thoresen with Andreas Hedman (15/2)

Form-Building Patterns and Metaphorical Meaning

1 Movie example

Movie example 1: Music from Åke Parmerud, Les objets obscurs (1991), 2′35″

Adam Basanta (15/2)

Syntax as Sign: The use of ecological models within a semiotic approach to electroacoustic composition

5 Sound examples

Sound example 1: Poisson distributed synthetic drops. Adam Basanta, Free/Association, 55″–1′14″

Sound example 2: Transformation of drops to dinner table. Adam Basanta, Free/Association, 1′46″–2′11″

Sound example 3: Transformation of breaking glass in to an underwater stream. Adam Basanta, Free/Association, 2′51″–3′31″

Sound example 4: Transformation of breaking glass in to birdsong. Adam Basanta, Free/Association, 3′56″–4′11″

Sound example 5: Adam Basanta, Free/Association – 9′37″ (full piece, of which Sound examples 1 to 4 are excerpts)

Daniel Barreiro (15/3)

Considerations on the Handling of Space in Multichannel Electroacoustic Works

9 Sound examples (both eight-channel and stereo versions)

Sound example 1: Percursos Enredados from 1′23″ to 1′45″ (a diffused and enveloping sound is set to interact with another sound that moves around the space) – 22″

Sound example 2: Percursos Enredados from 6′35″ to 6′42″ (example of sounds that ‘fly’ over the space) – 7″

Sound example 3: Percursos Enredados from 8′28″ to 8′42″ (long and slowly evolving sounds that do not tend to appear localised in the space) – 14″

Sound example 4: Maresia from 2′03″ to 2′16″ (wave that ‘washes’ through the audience and returns to the ‘sea’) – 13″

Sound example 5: Maresia from 8′38″ to 9′14″ (erratic movements of granular sounds superimposed to sounds of the waves) – 36″

Sound example 6: Sons Adentro from 0′38″ to 0′55″ (the erratic movement of the opening granular gesture is contrasted with resonant attacks that present an enveloping spatial character) – 17″

Sound example 7: Sons Adentro from 8′05″ to 8′35″ (the sounds of bouncing and rolling balls are superimposed to the sounds of the night, shifting the sonic image to an indoor space) – 30″

Sound example 8: Sons Adentro from 9′57″ to 10′07″ (the sound of a bird that ‘flies’ over the eight-channel setup is triggered by another sound) – 10″

Sound example 9: Sons Adentro from 5′59″ to 6′15″ (marbles and bouncing balls that roll inside the eight-channel configuration are some of the sounds that are set in motion by others) – 16″

Composer: Daniel Barreiro

Distribution of the sound files using the eight-channel loudspeaker setup: