Introduction to post-production

“Why does it sound so bad if my headphones sound so good?”

Audio post-production techniques are diverse and depend on the medium in which a material is finally played. Through a critical analysis of the different standards of dissemination of sound materials, this topic deals with how to put specific materials in an ideal context of reproduction for listening, according to the technical and conceptual characteristics of sound art projects.

With analog and digital tools, it will be seen how to optimize the materials, in that way the projects of the students of the Master in Sound Art are able to be exposed without technical problems from the preparation of the materials that finally come out through loudspeakers.

Syllabus

Shape acoustics

• Focalization
• Diffuser
• Central
• Perimeter
• Alveolar
• Global

Acoustics of proportions

• Dominant or isometric dimensions
• The number of gold
• Harmonic and inharphonic stationary waves
• Eco. Fluctuating echo

Acoustics of finishes and coatings

• Speculative, mixed and widespread reflection
• Absorption. absorption coefficient. Equivalent absorption
• Absorbent materials.
• Reverb time.
• Introduction to sound insulation of air, impacts and vibrations

Reverb calculation practice.

• Sabine’s method.
• Other methods

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Bibliography

– Augoyard, Jean François. ‘À l’écoute de l’environnement: répertoire des effets sonores’.

Marseille: Éditions Parenthèses, 1995. ISBN 2-86364-078-X.

– Beranek, Leo L. ‘Concert & opera hall: how they sound’. New York, [NY]: Acoustical Society of

America: American Institute of Physics, 1996. ISBN 1563965305 (tela).

– Daumal Domènech, Francesc. Poética. A: Daumal Domènech, Francesc. ‘Arquitectura

acústica’. Barcelona: Edicions UPC, 1998, vol. 1.

– Daumal Domènech, Francesc. Disseny. A: Daumal Domènech, Francesc. ‘Arquitectura

acústica’. Barcelona: Edicions UPC, 2000, vol. 2.

– Daumal Domènech, Francesc. Rehabilitació. A: Daumal Domènech, Francesc. ‘Arquitectura

acústica’. Barcelona: Edicions UPC, 2007, vol. 3.

– Daumal i Domènech, Francesc. ‘Arquitectura acústica, poética y diseño’. Barcelona: Edicions

UPC, 2002. ISBN 84-8301-638-9.

– Schafer, R. Murray. ‘Le paysage sonore’. [S.l.]: J. Clattès, 1991. ISBN 2-7096-1-073-6.

Complementary Bibliography:

– Thorny, Susana. ‘Acoustic ecology and education: bases for the design of a new landscape

sound.’ Barcelona: Graó, 2006. ISBN 9788478274420.

– Schafer, R. Murray. ‘Voices of tyranny: temples of silence’. Indian River: Arcane, 1993. ISBN

1-89512-719-X.

– Tati, Jacques. ‘Play time’ . Barcelona: DeAplaneta, 2003.

Music & Architecture · Mathias Klenner

From the generation of sounds or the creation of pure sounds we have to build or design the sound work. There are many possible prospects for sound work. The sound is associated with the time variable as well as the space variable. To work, the sound must be inserted into the double space/time dimension.

In the prehistory of music, before the established role, philosophers and scientists cared about thinking about the musical/sound phenomenon to understand it and the first claims related the essence of sound matter to the proportions given by geometry. And at the same time the geometric proportions and other characteristics described by mathematics provided the resources to analyze and compose architecture, art in space, and establish their rules. That is, from the beginning of Western culture and art were found and addressed the relationships between music and architecture, or sound constructions and spatial constructions (architecture, sculpture, painting).

By extension we will see the analogies between sounds and images. Images are given only as shapes in two-dimensional or three-dimensional space. How to think about building music/sound in pictures. Spatial analogy such as idea, starting point, inspiration, etc.

We will deal with analogies of landscapes, paintings, buildings, architecture, physical phenomena of nature, social or human phenomena, etc.

We will draw the idea of sound work. Historically graphic music, with references to Xenakis’ work and his “out-of-time music,” to Mestres Quadreny and his random Mironian work; and in my works of a generative nature or spatial analogies, from Esclat to El silencio transcurre.

Practice work: sound/image correspondences. From sound work to spatial or graphic image and vice versa. An author’s work will be performed graphically and then worked on a sound work from this spatial image.

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Space, Movement & Sound · Sònia Sànchez

syllabus

• 0. Social and political implications in the definition of sound art
• 1. Ethics and politics of sound art.
  • 1.1 Art, ideology and economy or the reinvention of experience.
• 2. Political and social derivations.
  • 2.1 Reading Bruits by Jacques Attali and listening to Merbow.
  • 2.2 Radio art: art and politics. From the Russian avant-garde to the radio texts of Walter Benjamin and Theodor W. Adorno.
  • 2.3 Listen to our environment and acoustic ecology. R. Murray Schafer

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bibliography

BENJAMIN, W., “La obra de arte en la época de su reproductibilidad técnica”. Obras, Libro I, Vol. 2. Madrid: Adaba Editores, 2008.

BOULEZ, P., Penser la musique aujourd’hui. París: Gallimard, 2005.

BUYDENS, M., Sahara. L’esthétique de Gilles Deleuze. París: Librairie Philosophique J. Vrin, 2005.

CAGE, J., Silence. Lectures and Writings by John Cage. Middletown: Wesleyan University Press, 1973.

CHARLES, D., Le temps de la voix. París: Editions Universitaires J.-P. Delarge, 1978.

DELEUZE, G., Différence et répétition. París: Presses Universitaires de France, 1968.

— i F. GUATTARI, Mil mesetas. Capitalismo y esquizofrenia. València: Pre-Textos, 2008.

FELDMAN, M., Give My Regards to Eighth Street. Collected Writings of Morton Feldman. Cambridge: Exact Change, 2000.

FOUCAULT, M., Las palabras y las cosas. Una arqueología de las ciencias humanas. Madrid: Siglo Veintiuno, 1991.

McLUHAN, M., La Galàxia Gutenberg. Barcelona: Edicions 62, 1973.

PARDO, C., Las TIC: una reflexión filosófica. Capellades: Laertes, 2008.

—, La escucha oblicua: una invitación a John Cage. Editorial de la Universidad Politécnica de Valencia, 2001.

PRITCHETT, J., The Music of John Cage. Nova York: Cambridge University Press, 1999.

SZENDY, P., Grandes éxitos. La filosofía en el jukebox. Vilaboa: Ellago Ediciones, 2009.

Summary

This module deals with much more practical questions than in Psychoacoustics and Experimental Music. It makes sense: we needed to lay the foundation for a language to accurately refer to the behavior of sound in its natural place: space. This required a lot of theoretical information. For space, however, we not only understand traditional spatial dimensions – which are only applicable to the domain in which we move voluntarily – but we will add time to this turn, since sounds and music also take place over time, whatever time it ends up, after all, being. In other words, physicists still argue about their actual existence.

Due to these considerations, we have structured the theme into four large modules: Environment and Dissemination, Gesture, Generation and Time.

Syllabus

• 1. Space. Soundscape
  • 1.1. Concept and usefulness
  • 1.1.1 Methodological dimension of the soundscape
  • 1.1.2 Narrative dimension of the soundscape
  • 1.2. Sound diffusion. Speakers as a musical instrument
    • 1.2.1. Types of speakers and forms of spatial stimulation
    • 1.2.2. Directionality
    • 1.2.3. Speaker designs
      • 1.2.3.1. Stereophony
      • 1.2.3.2. Quadraphony and octophony
      • 1.2.3.3. Special broadcasting systems
        • 1.2.3.3.1. Gmebaphone
        • 1.2.3.3.2. Acousm-nium
        • 1.2.3.3.3.   Kupper Domes
      • 1.2.3.4. Ambisonics  and Vector Based Amplitude Panning – VBAP – VBAP
      • 1.2.3.5. Wave Field Synthesis – WFS
      • 1.2.3.6. Manifold – Interface Amplitude Panning – MIAP
• 2. Interactive systems. Interaction and real time. Hardware devices
  • 2.1. In the virtual world
    • 2.1.1. Between applications on the same computer
      • 2.1.1.1. Sound apps
      • 2.1.1.2. Sound, visual and other applications
    • 2.1.2. Between dedicated computers
      • 2.1.2.1. Computers dedicated to sound applications
      • 2.1.2.2. Computers dedicated to sound, visual and other media applications
    • 2.1.3. On the network
  • 2.2. In the physical world
    • 2.2.1. Sensors
      • 2.2.1.1. Microphones
      • 2.2.1.2.Capt mechanical  trainers
      • 2.2.1.3.Electromagnetic  radiation captors
        • 2.2.1.3.1. Photo-resistance
        • 2.2.1.3.2. Infrared detectors
        • 2.2.1.3.3. Video cameras and microscopes
    • 2.2.2. Actuators
      • 2.2.2.1. Speakers
      • 2.2.2.2. Plates
      • 2.2.2.3. Solenoids
      • 2.2.2.4. Motors
      • 2.2.2.5. Other actuators
• 3. Sonification
  • 3.1. Sound depending on the image
    • 3.1.1. Color identification
    • 3.1.2. Luminosity identification
    • 3.1.3. Identification of movement
    • 3.1.4. Color location
    • 3.1.5. Location of luminosity
    • 3.1.6. Location of movement
  • 3.2. Data-driven sound
    • 3.2.1. GPS
    • 3.2.2. Internet. The case of Carnivore
    • 3.2.3. SRTM – NASA ground elevation data
    • 3.2.4. Cassini – Dynamic Explorer – Terrestrial Electromagnetic Field Data
    • 3.2.5. Stock values
    • 3.2.6. State of the Sea Data
    • 3.2.7. Climate Status Data
    • 3.2.8. Demographics of the planet
    • 3.2.9. Geological activity data
    • 3.2.10. Decoding two-dimensional and QR arrays
• 4. Generating images depending on the sound
  • 4.1. Displaying musical parameters
    • 4.1.1. Height/Time
    • 4.1.2. Dynamic/Time
    • 4.1.3. Bell/Hour
    • 4.1.4. Space/Time
  • 4.2. Displaying sound parameters
    • 4.2.1. Frequency/Time
    • 4.2.2. Amplitude/Time
    • 4.2.3. Spectre/Time
    • 4.2.4. Location/Time
    • 4.2.5. Encoding sounds in two-dimensional arrays and QR
• 5. Joint generation of sound and image
  • 5.1. User-independent processes
    • 5.1.1. Classic numerical behaviors
      • 5.1.1.1. Series of famous numbers
      • 5.1.1.2. Famous functions
    • 5.1.2. Fractals
    • 5.1.3. Cell automatons and Conway matrices
    • 5.1.4. Parametric surfaces. Matrix mixing
    • 5.1.5. Computational agents
      • 5.1.5.1. Boids
      • 5.1.5.2. Docks
      • 5.1.5.3. Fireflies
    • 5.1.6. Genetic algorithms
  • 5.2. User-dependent processes. Interactivity and real time. Real-time human action on computational parameters
    • 5.2.1. Interactive perspective on the use of fractals
    • 5.2.2. Interactive perspective on the use of Conway cell automatons and matrices
    • 5.2.3. Interactive perspective on the use of parametric surfaces and matrix mixing
    • 5.2.4. Interactive perspective on the use of computational agents
      • 5.2.4.1. Boids
      • 5.2.4.2. Docks
      • 5.2.4.3. Fireflies
    • 5.2.5. Convolution and flows
• 6. Time
  • 6.1. Timelines
  • 6.2. Directionality
  • 6.3. Closed work
    • 6.3.1. Musical forms
  • 6.4. Open work

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bibliography

BARLOW, C., F. BARRIèRE, J. M. BERENGUER, et al. Time in electroacoustic music. Bourges: Actes 5, Mnemosyne, 1999-2000.

BARRET, N., “Spatio-Musical Composition Strategies”. Organised Sound, Vol. 7 (3) (CUP), 2002, pp. 313-323.

BAYLE, F., Musique acousmatique, propositions… positions. París: Buchet/Chastel—INA-GRM, 1993.

BOULANGER, R., The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing,and Programming. The MIT Press, 2000.

CHOWNING, J., “The Simulation of Moving Sound Sources”. Journal of the Audio Engineering Society, 19 (1), 1971, pp. 2-6 (Computer Music Journal, June 1977, pp 48–52).

CLOZIER, Ch., “The Gmebaphone Concept and the Cybernéphone Instrument”. Computer Music Journal, Vol. 25 (4), 2001, pp. 81–90.

COLE, H., Sounds and Signs: Aspects of Musical Notation. Oxford University Press, 1974.

COLLINS, N., Handmade Electronic Music: The Art of Hardware Hacking. Routledge, 2006.

DAVIS, M. F., “History of Spatial Coding”. Journal of the Audio Engineering Society, Vol. 51 No. 6, June 2003, pp. 554–569.

EMERSON, S. (ed.), The Language of Electroacoustic Music. London: MacMillan Press, 1986.

DOHERTY, D., “Sound Diffusion of Stereo Music over a Multi Loudspeaker Sound System: from First Principles onwards to a Successful Experiment”. Journal of Electroacoustic Music (SAN), Vol. 11, 1998, pp. 9-11.

GHAZALA, R., Circuit-Bending: Build Your Own Alien Instruments.John Wiley & Sons, 2005.

GRITTEN, A. i E. KING (eds.), Music and Gesture. Aldershot: Ashgate, 2006.

KEANE, D., Tape Music Composition. Oxford University Press, 1981.

MANNING, P., “Computers and Music Composition”. Proceedings of the Royal Musical Association, Vol. 107, David Greer (ed.), 1980–1, pp. 119–131.

OWSINSKI, B., The Mastering Engineers Handbook. MixBooks, 2000.

SCHAEFFER, P., De la musique concrète à la musique même. París: Mémoire du Livre, 2002.

WANDERLEY, M. M., Non-Obvious Performer Gestures in Instrumental Music. Heidelberg: Springer, 1999.

Sound installation

Sound installation is a multidisciplinary practice, based on concepts of space and sound. This theoretical and practical course is taught by a team of instructors composed of a sculptor, a composer, an architect specialized in acoustics, and an artist working in the field of transdisciplinary practice. The course will cover the fundamental concepts necessary to develop a practical project involving the syntax of three-dimensional space; spatial organization in urban spaces and natural environments; the organization of sound, project management in the acoustic space, and a critical investigation that interrelates historical aspects with the practical realization of a collaborative sound installation by the students.

This module is lectured by the professors Pedro Alcalde, Luz María Sanchez and  Mathias Klenner,  with the following structure and contents:

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Space – Luz Maria Sánchez

4 sessions of 4h.

This part of the topic will address the syntax of three-dimensional space and spatial organization in urban space and in the natural environment. Spatial structuring will be studied through narrative routes and space sequences and introduced into the materials, construction techniques and artistic processes required for understanding and practical experimentation in sound sculpture and installations in three-dimensional space.

– Geophonies of silence

Sound identity of the place, sound environments and active listening. Sound drifts, sound walking, solitary walkers, flaneurs, walking artists and poets. Genius loci or the spirit of the place. Shinrin Yoku, microsounds and inaudible sounds. Silences in literature. Silent installations, performances and happenings.  

– Sound mapping and geolocation

Frontiers, levels and sound layers in urban space. Urban spaces defined by dynamics and mobility. Spatial and temporal trajectories. Sound compositions of urban spaces. Artistic mapping: maps of sounds, feelings and sensations. Graphical representation systems, reading codes, classification, processing and transmission of information. The city as text and stage, with multiple reading possibilities.

– Expose sounds

Experience sound with the timbre of materials and shapes. Notions of Rhythm, Composition, Symmetry, Harmony and its interrelationship in the plastic, performing, musical and three-dimensional arts. Cymatics, draw with sounds, images of how sound propagates into materials with geometric paths and patterns.

– Notions of space

Perception of space, physical, mental and sensory. Surfaces, territories and boundaries. Lines and routes in space. Trajectories, spatial and temporal stages. Rhythmic transitions and successions between spaces. Sound sequences, geometry of spaces and materials. Sound design of the space.

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Sound – Pedro Alcalde

4 sessions of 4h.

This part of the topic is interconnected with “Space” in shared sessions. Sound will be considered both, as a temporal flow, as in its relationship to space and all projects that involve a multi, inter or anti disciplinary interaction with other arts or events.

– Playing with values and intensities

Sound wave and perceived sound: magnitudes and parameters. Practical creation exercises with isolated parameters: frequency, intensity, duration, partial spectrum, envelope and hood. combinatorial. Random roulette.

• Debate: sound and light, listening and vision, other senses.
• Practice: SCREEN SOUND COMPOSITION, short video with image and sound based on different games with sound parameters.

Texture maps

Graduation of the sound event flow: compositions with textures. Phrase and paradigm: horizontal timeline (opacity /clarity) and vertical density line (homogeneous/heterogeneous). Types of textures and ways to combine and juxtaposition.

• Debate: sound sources, attributes, morphologies, symbolism, aesthetics, ethics.
• Practice: REAL OR IMAGINARY SOUND MAP, mapping with audio files.

– Instructions, Scores, Annotations

Sound procedures, rhythms and developments. Tools: magnify, minimize, modify, give other use, rearrange, combine.

• Debate: regulatory categories: linear / nonlinear, unit / multiplicity, durable / fleeting, objective / subjective, collective / individual, order / chaos, closed / open.
• Practice: GRAPHIC SHEET AND SOUND DIARY, with audio materials.

– Sound scenes

Sound in interaction: installation, performance, video, cinema, net-art, dance, theater, public spaces, urban planning, landscaping, architecture… The different stage functions of sound will be worked: structural (association, continuity, punctuation), emotional, referencing, factual, symbolic and aesthetic in relation to different elements: theme, characters, action, space and time.

• Debate: sound “in”, “out” and “off” – image / sound: identity, complementarity, opposition.
• Practice: SOUND SCENE theme (AUDIO / VIDEO), duration and free format.

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Project Management – Mathias Klenner

2 sessions of 4h.

The Project is the set of activities performed by a person or entity to achieve a certain objective or outcome. These activities can be interprofessional and therefore very interrelated. The project is based on different knowledge that is displayed through diagrams, drawings, graphics, schematics, sketches, models and other kinds of representation, this information is presented in print and/or digital format, developed to determine in some type of support, such as a work or an installation. Since the objective pursued by the project must be fulfilled within a certain period defined above and respecting specific budget and conditions of execution in the place and / or workshop, transfers, insurance, etc., is necessary a contract of legal clauses, descriptive and technical reports, graphic documentation, status of measurements and budgets, which sometimes must be very detailed.

– Project management

• Preliminary draft
• Project
• Descriptive memory
• Technical memory
• Floor plans, heights and sections. Detail maps
• Specifying technical conditions
• Measurement status
• Budget
• Promotion
• Contract (terms of completion and billing)
• Billing. Management and taxes

– Reading plans

The scale

• The plant and top floor plan
• Heights
• The sections
• Perspectives and renders
• Demolition and new construction
• Models

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Sound Installations – Luz Maria Sanchez

4 sessions of 4 hours each.

The course is divided into two parallel sections: one reflective/theoretical and the other practical. It concludes with the creation, production, and exhibition of a collaborative sound installation project with the participation of the students in the class.

Sound installation emerges at the intersection of many practices that have led to radical ideas about new forms of artistic creation. The term sound installation was coined by Max Neuhaus in the late 1960s and refers to a permanent or semi-permanent artistic form that exists both in public spaces and cultural contexts. These installations use sound to shape, transform, create, and define a specific space, and they do not exist in isolation but within their context: the context of their sound environment, their visual environment, and their social environment (Neuhaus 1994).

Throughout the course, the links between these interdisciplinary relationships are explored, observing how the spatial and relational qualities of sound are fundamental to building immersive environments. Through a collective research process, the aim is to foster critical thinking and provide a conceptual foundation for the creation of a final collective practical project. During the course, non-chronological analyses of seminal sound installations and relevant theoretical reflections are developed.

– Sound Installation – Theoretical Approaches

The course addresses ideas generated by theorists and creators who have reflected on the role of sound in space, and specifically on sound installations, including Max Neuhaus, Salomé Voegelin, Seth Kim-Cohen, Lucy Lippard, Brandon LaBelle, Gascia Ouzounian, Raquel Castro, and Christoph Cox, among others.

– Sound Installation – Context, Space, and Sound

In sound installation, context and space are essential elements that determine the relationship between sound and its environment. Context, understood as the physical, social, and cultural environment, influences how sound is perceived and experienced. Space, both architectural and social, acts as a vessel that modulates sound, transforming the listener’s perception. Works by seminal and contemporary authors from different geographical regions will be reviewed, including Max Neuhaus, Christina Kubisch, Janet Cardiff, Tania Candiani, Maryanne Amacher, Susan Philips, Lawrence Abu Hamdan, and Rebecca Horn, among others.

– Sound Installation – Creation, Production, and Public Presentation

Students will work practically on a collective sound installation, applying the theoretical and practical concepts discussed throughout the course. This collective project will involve the exploration and experimentation of sound in a specific physical space, considering both the architectural characteristics and the social and cultural context of the place. The final collective work will not only be a technical exercise but also a reflection on the relationship between space and sound, aligning with contemporary sound installation practices.

BIBLIOGRAPHY

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Cox, C. (2009). Installing duration: Time in the sound works of Max Neuhaus. Yale University Press.

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