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Architecture | Music | Art

SPATIOSONIC CONSTRUCTS

MPhil / PhD Academic Research: 2017 - present

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This body of research is concerned with discovering and exploiting creative reciprocities between music as constructed sound, and architecture as constructed space. Historically, architectural space has played a highly active role in influencing the experience and composition of music. The Dutch renaissance composer Adrian Willaert is famed for having supposedly invented polychoral, antiphonal music as a response to the spatially-opposed positioning of choir lofts in St Mark’s Basilica in Venice. Conversely, architects and engineers have long acknowledged the desires of music in space. Long before Acoustics was a formally recognised discipline, Roman architect and engineer Vitruvius discusses a method for enhancing the sonic character of theatres and performance spaces by embedding “echea” or acoustic vases in the walls. Despite these examples, only a small handful of spatiosonic practitioners have managed to rigorously explore interactive parallels between musical space and physical space in their work. American composer Henry Brant produced many spatial compositions, with a view to exploring the idea that aspects of physical space (particularly distance and direction) are as compositionally active as the musical elements of tone and timbre. In contrast to the above examples, our experience of music is becoming more “virtual”, or divorced from a physical, spatial reality. Our lives are increasingly saturated with the availability of digital media and we are largely inseparable from the portable technologies which enable us to create and consume media on demand whenever, wherever. A continuing trend towards “virtual listening” results in a disconnect between the practices of designing spaces for music and composing music for live performance. This research is explored through the composition and choreography of physical, musical performances. These performances are hypothesised, constructed and examined using a range of analytical analogue and digital techniques from predictive models of acoustic simulation, to interrogating the results of the performances through the analysis of ambisonic recordings, spatio-temporal drawings and audience feedback. The performed compositions are referred to as “constructions” and each one establishes the terms by which sonic media and architectural space might influence each other. With these constructions, architecture is activated by musical desires. Simultaneously, music is composed and performed as a way of accessing and exploiting spatiosonic phenomena.

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