Spatial Relationship in Electro-Acoustic Music and Painting

By Kyong Mee Choi.

Published by The Technology Collection

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Article: Print $US10.00
Article: Electronic $US5.00

The two systems – Renaissance perspective and the two-channel electro-acoustic music system – are compared through individual parameters and the results of techniques that provide composers or artists with an intuitive mapping scheme. This study does not intend to copy an entire piece of music into a painting, or vice versa, instead it aims to supply a cohesive explanation of how the two systems create the illusion of depth.
After reviewing the historical background, major components of Renaissance perspective–linear perspective, separation of planes, and aerial perspective–are discussed. Then the two-channel electro-acoustic music system is examined in conjunction with Renaissance perspective. The Inverse Size/Distance Law in linear perspective and the Inverse Square Law in sound show a strong correlation between the size of an object in painting and the intensity of a sound object in the stereophonic system. The technique of reverberation is specifically discussed in terms of creating the vertical sound planes in space. Filtering is the major techniques examined in order to create atmospheric perspective in the two-channel sound system. The color perspective is examined through timbre space, which is a conceptual space where each parameter of the axis is measurable. Through these studies an intuitive mapping scheme, which includes individual parameter and its values, is applied to actual works in order to convert spatial information from painting to music and vice versa. Converting spatial information requires three steps: 1) Number the order of the objects 2) Analyze spatial information of the objects based on the intuitive mapping scheme 3) Arrange the objects with spatial information in the new medium. In addition to this application, different temporalities of both media are discussed to see how a specific mapping scheme can be applied to the particular medium.

Keywords: Spatial Relationships, Electro-Acoustic Music, Painting

The International Journal of Technology, Knowledge and Society, Volume 5, Issue 4, pp.99-114. Article: Print (Spiral Bound). Article: Electronic (PDF File; 1.461MB).

Dr. Kyong Mee Choi

Assistant Professor, Music Composition, Chicago College of Performing Arts, Roosevelt University, Chicago, IL, USA

Kyong Mee Choi, composer, organist, painter, and visual artist, received several prestigious awards including John Simon Guggenheim Memorial Foundation Fellowship, Robert Helps Prize, The First prize of ASCAP/SEAMUS commission award, The First place at the Birmingham Arts Music Alliance Concert Exchange program, The Second prize at VI Concurso Internacional de Música Eletroacústica de São Paulo, Mention for Musique et d’Art Sonore Electroacoustiques de Bourges, Honorary Prize for the Musica Nova at Music of Czech Republic among others. Her compositions have been recognized by the Concurso Internacional de Música Eletroacústica de São Paulo, Australasian Computer Music Conference, Musica Contemporanea in Ecuador, Luigi Russolo International Electroacoustic Competition, Third Practice, International Computer Music Conference, Electroacoustic Musical Festival in Santiago de Chile, Spectrum Press, Merging Voices, Music Beyond Performance, EMM, SEAMUS, Bourges, NODUS, CMS, and MUSICA NOVA including others. Her music can be found at CIMESP (São Paulo, Brazil), SCI, EMS, ERM media, SEAMUS, Détonants Voyages (Studio Forum, France). She is currently an Assistant Professor of Music Composition at Roosevelt University in Chicago where she teaches composition and electro-acoustic music. She writes for chamber, electro-acoustic, interactive, and multi-media work.


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