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Thesis Info
- LABS ID
- 00953
- Thesis Title
- Small Diffusion, Big Impact: Composing Immersive Acousmatic Music for the Non-Ideal Listening Space
- Author
- Alexis Weaver
- E-mail
- alexis.weaver AT sydney.edu.au
- 2nd Author
- 3rd Author
- Degree
- Master of Music (Composition)
- Year
- 2020
- Number of Pages
- 86
- University
- University of Sydney
- Thesis Supervisor
- Dr Benjamin Carey
- Supervisor e-mail
- benjamin.carey AT sydney.edu.au
- Other Supervisor(s)
- Dr Daniel Blinkhorn
- Language(s) of Thesis
- English
- Department / Discipline
- Music
- Copyright Ownership
- Alexis Weaver
- Languages Familiar to Author
- English, French
- URL where full thesis can be found
- hdl.handle.net/2123/22907
- Keywords
- acousmatic, electroacoustic, diffusion, immersion, composition, accessibility, non-ideal,
- Abstract: 200-500 words
- Acousmatic music is increasingly composed with the artistic goal of spatial immersion through use of large diffusion arrays, which are chosen over more portable diffusion methods such as headphones or other small devices. In this thesis, the term Small Diffusion is introduced to describe simpler, often more solitary acousmatic listening experiences using widely accessible listening technologies. By awarding a collective label to this listening method, Small Diffusion technologies are raised to an equal level of legitimacy as more complex diffusion systems in our increasingly technological listening environment. The concept of the Non-Ideal Listening Space is also introduced as a valid and interesting space to experience acousmatic music. Three new listening modes are introduced which account for the influence of environmental distraction on listening, allowing the composer to identify and work with the Non-Ideal Listening Space. In this way, these interacting concepts are shown to create new possibilities for composing and listening to acousmatic works. The meaning of listener immersion is also examined, alongside examples of immersion in large and small spaces. The concept is then re-conceptualised beyond a 3-dimensional, spatial definition to encapsulate the Small Diffusion context. I employ a reflective methodology in detailing a series of works composed for Small Diffusion and the Non-Ideal Listening Space, including traditional acousmatic and radiophonic music, a children’s performative soundscape, and a dance soundtrack. These works engage with the challenge of maintaining listener immersion despite the possibility of increased distraction and technical obstacles in the Small Diffusion space. These works are thus composed for a larger and more likely range of listening situations, providing real-world examples of how Small Diffusion works can bring modern acousmatic music to a wider and potentially different audience.