Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-26T08:13:58.276Z Has data issue: false hasContentIssue false
  • English
  • Français

Wireless Body-worn Sound System for Dance and Music Performance

Published online by Cambridge University Press:  16 November 2015

Felipe Otondo
Felipe Otondo*
Affiliation:
Institute of Acoustics, Universidad Austral de Chile, PO Box 567, Valdivia, Chile
*
Email: felipe.otondo@uach.cl
Get access Rights & Permissions [Opens in a new window]

Abstract

The role of spatial design in music has become more prominent in recent years, mostly because of the affordability of powerful software and hardware tools. Although spatial audio tools are widely used nowadays in studios and concert halls, there are only few examples of robust and comfortable wearable sound systems with a suitable acoustic response. A wireless body-worn loudspeaker prototype featuring original costume elements, a hybrid full-range loudspeaker array and an improved acoustic response was designed and implemented. The size, shape and acoustic performance of the prototype was optimised using data gathered from anechoic measurements and interviews with performers and audiences. Future developments of this project will consider the implementation of an extended multi-channel performance platform to explore sonic and spatial relationships created by several wearable devices on stage synchronised with a multi-loudspeaker diffusion system.

Type
Articles
Information
Organised Sound , Volume 20 , Issue 3: Aesthetic Radicalism, Future and Past , December 2015 , pp. 340 - 348
Copyright
© Cambridge University Press 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Aylward, R. and Paradiso, J. 2006. Sensemble: A Wireless, Compact, Multi-user Sensor System for Interactive Dance. Proceedings of the 2006 International Conference on New Interfaces for Musical Expression, Paris.Google Scholar
Bates, E. 2009. The Composition and Performance of Spatial Music. PhD thesis, Trinity College, Dublin.Google Scholar
Bech, S. and Zacharov, N. 2006. Perceptual Audio: Evaluation-theory, Method and Application. Chichester: John Wiley.CrossRefGoogle Scholar
Birringer, J. 2010. Moveable Worlds/Digital Scenographies. International Journal of Performance and Digital Media 6(1): 89–107.CrossRefGoogle Scholar
Birringer, J. and Danjoux, M. 2013. The Sound of Movement Wearables: Performing UKIYO. Leonardo 46(3): 232–240.CrossRefGoogle Scholar
Birringer, J. and Danjoux, M. 2014. Audible and inaudible choreography. Etum – E-journal for Theatre and Media 1(1): 9–32.Google Scholar
Born, G. 2013. Music, Sound and Space: Transformations of Public and Private Experience. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Borwick, J. 2001. Loudspeaker and Headphone Handbook. Oxford: Focal Press.Google Scholar
Brant, H. 1967. Space as an Essential Aspect of Musical Composition. In E. Schwartz and B. Childs (eds.) Contemporary Composers on Contemporary Music. New York: Holt, Rinehart and Winston.Google Scholar
Di Scipio, A. 2003. Sound is the Interface’: From Interactive to Ecosystemic Signal Processing. Organised Sound 8(3): 269–277.CrossRefGoogle Scholar
Globokar, V. 1980. La tromba è mobile. London: C. F. Peters editions.Google Scholar
Greenlight, AV. 2010. Research and Development of Body Worn Speaker Systems for Lancaster University. Lancaster University internal report.Google Scholar
Hahn, T. and Bahn, C. 2002. Pikapika – The Collaborative Composition of an Interactive Sonic Character. Organised Sound 7(3): 229–238.CrossRefGoogle Scholar
Harley, M. 1998. Spatiality of Sound and Stream Segregation in Twentieth Century Instrumental Music. Organised Sound 3(2): 147–166.CrossRefGoogle Scholar
Harley, M. 1994. Spatial Sound Movements in the Instrumental Music of Iannis Xenakis. Journal of New Music Research 23(3): 291–314.CrossRefGoogle Scholar
Jones, S. 2013. The Mobile Device: A New Folk Instrument? Organised Sound 18(3): 229–305.CrossRefGoogle Scholar
Kollias, A. 2004. An Introduction to Henry Brant’s Spatial Music Through his Work ‘Ice Field’. MA thesis, City University, London.Google Scholar
Lanzalone, S. 2000. Hidden Grids: Paths of Expressive Gesture between Instruments, Music and Dance. Organised Sound 5(1): 17–26.CrossRefGoogle Scholar
Lynch, H. and Sazdov, R. 2011. An Investigation into Compositional Techniques Utilized for the Three-dimensional Spatialization of Electroacoustic Music. Proceedings of the Electroacoustic Music Studies Conference, New York.Google Scholar
Musgrave, T. 1974. Horn Concerto. London: J & W Chester/Edition Wilhelm Hansen.Google Scholar
Otondo, F. 2007. Creating Sonic Spaces: An Interview with Natasha Barrett. Computer Music Journal 31(2): 10–19.CrossRefGoogle Scholar
Otondo, F. 2008. Contemporary Trends in the Use of Space in Electroacoustic Music. Organised Sound 13(1): 77–81.CrossRefGoogle Scholar
Otondo, F. 2010a. Rediscovering Artaud’s Sonic Order. Journal of Music and Meaning 9(Winter). 3–10.Google Scholar
Otondo, F. 2010b. Mobile Sources in Two Music Theatre Works. Proceedings of the International Computer Conference, New York.Google Scholar
Otondo, F. 2011. Flexible Spatial Design for Dance Performance. Proceedings of the International Computer Music Conference, Huddersfield, UK.Google Scholar
Otondo, F. 2013. Using Spatial Sound as an Interdisciplinary Teaching Tool. Journal of Music, Technology and Education 6(2): 179–190.CrossRefGoogle Scholar
Peters, N. 2010. Sweet [re]Production: Developing Sound Spatialization Tools for Musical Applications with Emphasis on Sweet Spot and O-center Perception. PhD thesis. McGill University, Montreal.Google Scholar
Peters, N., Marentakis, G. and McAdams, S. 2011. Current Technologies and Compositional Practices for Spatialization. Computer Music Journal 35(4): 10–27.CrossRefGoogle Scholar
Powell, T. 2007. Review of ‘To have done with the judgment of Artaud’. www.broadwaybaby.com/shows/to-have-done-with-the-judgment-of-artaud/24795 (accessed in May 2015).Google Scholar
Salomon, J. 2007. Spatialization in Music: The Analysis and Interpretation of Spatial Gestures. PhD thesis. University of Georgia, Athens, Georgia.Google Scholar
Samdanis, M., Kim, Y. and Lee, S. 2013. The Emergence of Wearable Space: A Review and Research Implications. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems.Google Scholar
Sazdov, R. 2011. The Influence of Subwoofer Frequencies Within a Multi-channel Loudspeaker Configuration on the Perception of Spatial Attributes in a Concert-hall Environment. Proceedings of the International Computer Music Conference, Huddersfield, UK.Google Scholar
Schiemer, G. and Havryliv, M. 2007. Pocket Gamelan: Swinging Phones and ad hoc Standards. Proceedings of the 4th International Mobile Music Workshop, Amsterdam.Google Scholar
Stahl, A. and Clemens, P. 2010. Auditory Masquing: Wearable Sound Systems for Diegetic Character Voices. Proceedings of the Conference on New Interfaces for Musical Expression, Sydney.Google Scholar
Stefani, E. and Lauke, K. 2010. Music, Space and Theatre: Site-specific Approaches to Multichannel Spatialisation. Organised Sound 15(3): 251–259.CrossRefGoogle Scholar
Stockhausen, K. 1961. Music in Space. Die Reihe 5: 67–82.Google Scholar
Tanaka, A. and Gemeinboeck, P. 2006. A Framework for Spatial Interaction in Locative Media. Proceedings of the 2006 International Conference on New Interfaces for Musical Expression, Paris.Google Scholar
Tooper, D. and Swendsen, P. 2005. Wireless Dance Control: PAIR and WISEAR. Proceedings of the 2005 International Conference on New Interfaces for Musical Expression, Vancouver.Google Scholar
Trochimczyk, M. 2001. From Circles to Nets: On the Signification of Spatial Sound Imagery in New Music. Computer Music Journal 25(4): 39–56.CrossRefGoogle Scholar
UKYO. 2010. Moveable Worlds – Programme Notes. Design and Performance Lab. Lilian Baylis Studio, Sadler’s Wells, London, 26 November.Google Scholar
Wilkins, C. and Ben-Tal, O. 2010. The Embodiment of Music/Sound Within and Intermedia Performance Space. Proceedings of the 5th International Conference on Digital Arts.Google Scholar
Wilson, S. and Harrison, J. 2010a. Editorial. Organised Sound 15(3): 183–184.Google Scholar
Wilson, S. and Harrison, J. 2010b. Rethinking the BEAST: Recent Developments in Multichannel Composition at Birmingham ElectroAcoustic Sound Theatre. Organised Sound 15(3): 239–250.CrossRefGoogle Scholar
Zvonar, R. 2005. A History of Spatial Music. eContact! 7(4). http://cec.sonus.ca/econtact/7_4/zvonar_spatialmusic.html (accessed March 2015).Google Scholar

Websites

Curtis, Bahn and Tomie, Hahn. 2015. www.arts.rpi.edu/~bahnc2/Activities/SSpeaPer/SSpeaPer.htmGoogle Scholar
Steffi, Weismann. 2015. www.steffiweismann.de/SSpeaPerGoogle Scholar
Tymphany. 2015. www.tymphany.com/transducers/transducer-search-results/?keywords=ne65wGoogle Scholar
Ukyo. 2015. http://people.brunel.ac.uk/dap/Ukiyo_Sadlerswells.htmlGoogle Scholar