Article en ligne : Microsound in public space: compositional methods to enhance site-specific sound, Sven Anderson, Organised Sound , Volume 13, Issue 01, April 2008, pp 51-60

Un article repéré par Ricardo Atienza

doi:10.1017/S1355771808000071, Published Online by Cambridge University Press 29 Feb 2008

  • Abstract
  • This article documents the resolution of a problem encountered during the design of a semi-permanent interactive sound and video installation currently being installed at a tram station located in Dublin, Ireland. This artwork generates video and multi-channel sound output in real time, responding to changes in traffic patterns on an adjacent street. While the visuals are composed from pre-recorded content, the sound environment explores the use of site-specific sound within public urban space by sampling and processing sounds that occur naturally in and around the station. Regulations involving the artwork’s volume resulted in the sound output being reduced to a level at which it was too subtle to be noticed amidst the busy activity of the station. It was therefore necessary to strengthen the artwork’s aural presence without interfering with the subtleties of the site-specific sound environment. A dynamic field of sine tones and rhythmic glitches was composed to augment the more subtle sounds of the installation. This juxtaposition of site-specific sound with compositional structures associated with the popular musical genre known as microsound proved to be effective, calling attention to the mediated sound environment even at low volume levels and balancing the artwork’s presence with the other functions of the site

La revue

An International Journal of Music and Technology

Organised Sound is an international peer-reviewed journal which focuses on the rapidly developing methods and issues arising from the use of technology in music today. It concentrates upon the impact which the application of technology is having upon music in a variety of genres, including multimedia, performance art, sound sculpture and music ranging from popular idioms to experimental electroacoustic composition. It provides a unique forum for anyone interested in electroacoustic music studies, its creation and related developments to share the results of their research as they affect musical issues. An accompanying CD/CD-ROM/DVD is sent to subscribers annually.

The future themes for upcoming issues of Organised Sound are available now.

Organised Sound future themes 2009 and 2010
If you are interested in contributing to any of these future themes, please email the relevant guest editor(s) listed or the journal’s editor directly.

Off theme submissions are always welcome. These can be discussed with the journal editor beforehand and submitted to os@dmu.ac.uk

2009 themes
Sound Art, co-ordinated by Jøran Rudi (NOTAM) joran.rudi@notam02.no
Interactivity in Musical Instruments, co-ordinated by Garth Paine (University of W. Sydney) ga.paine@uws.edu.au
ZKM 20 Years – a Celebration, co-ordinated by Ludger Brümmer (ZKM) ludi@zkm.de
2010 themes
The Sonic Image, co-ordinated by Simon Atkinson (MTI Research Group / De Montfort University) satkinson@dmu.ac.uk
Organising Electroacoustic Music, co-ordinated by Simon Emmerson (idem) s.emmerson@dmu.ac.uk
Sound <-> Space: New approaches to multichannel music and audio, co-ordinated by Scott Wilson and Jonty Harrison (BEAST/University of Birmingham UK) s.d.wilson1@bham.ac.uk & d.j.t.harrison@bham.ac.uk

Françoise Acquier

Chargée de ressources documentaires Equipe Cresson - UMR Ambiances Architectures Urbanités - Ecole Nationale Supérieure d'Architecture de Grenoble.

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