As you probably know visual and other cognitive cues often override audio cues (see wallachs amazing cylinder experiment from 1940). I like to play with peoples minds in my installations and create illusions with sound - but these can be massively aided by the careful manipulation of cognitive and visual cues - for me for example the choice of location and how it looks is just as much a compositional decision as the choice of sounds, every sensory experience people have from the sight of a speaker, to the smell of the environment will have an associated meaning for listeners and effect how they hear things, and how believable the world you are trying to transport them to is.. Cognitive cues are massively influential on how we hear and experience the world - from branding to deciding one person has something more important to say because you know their name, etc etc - you can completely override audio cues - or massively enhance them if you are clever in their use. However I would suggest practice led research for this kind of project - I have heard so many things that sound very good on paper but dont actually work - to really add to the body of human knowledge I would say do it the other way round here - find out what works then write about it. There are loads of really interesting avenues of research in this topic - from intepoliation in HRTF data sets to various applications in VR. Although not sound based there is research for example in VR - you put a headset on and walk in a room - you think you are walking in a straight line but actually you are walking in a curve - the research is determining how far visual cues can foll haptic ones, how much of a curve can you get away with.... There are many audio equivelants to this "curve". .....I am also involved in sound sculpture but not perhaps in the way you mean - I make actual sculptures with sonics bult into them - I like technology to be hidden for the aforementioned cognitive reasons- I also do a lot of installations in natural environments that integrate psychoacoustic and cognitive research (such as the cocktail party effect and precedence etc) . I can send you some papers I wrote on using these cues in sound installation and theatre if you PM me. I also would be wary of terms like "sound based music" it sounds like pure academese - I understand the importance of academic writing style you have the potential to write an interesting research project and create a great portfolio which actually is clever and doesnt need to obscure its content with unnecessary esoteric language . My advice would be to follow your passion and not let yourself get led into something you're not really that interested in or that makes your supervisor feel safer - to finish you will need to be really engaged.
On 16 August 2017 at 13:45, Peter Lennox <p.len...@derby.ac.uk> wrote: > You probably have a supervisor, so I wouldn't want to interfere. > But it seems to me that your main aim is too broad, too vague. You seem to > be saying something like "the perception of music partly relies on > processes (neural, cognitive and psychological) that exist for other than > musical reasons - so how can this principle be applied to enrich music and > sound art?" > - but of course, composers have always done this. Take the principle of > "intuitive physics" (1993: 'Intuitive Physics', in Eilan, McCarthy and > Brewer, (eds.), Problems in the Philosophy and Psychology of Spatial > Representation; 99-112) - then compare "flight of the bumble bee" with > Prokoviev's "Dance of the Knights" (a track on Romeo and Juliet) - you can > hear that they rely on extra-musical associations about size (mass) and > therefore momentum, and the sorts of movement (acceleration, change of > direction) that might be expected for beings of differing masses. (Also > have a listen to Tomita's electronic renditions of Debussey) > > > On the notion of sound sculpture, there are many artists interested in > this - for example, The Morning Line (https://www.youtube.com/ > watch?v=gipLCJr94Sg ) > > So, you have a very interesting topic area, and one in which much is not > known (an exciting area for research, then). But this stage, of formulating > a coherent proposal, is very hard work. Simplicity is the key - trying to > be really clear (to yourself) what it is you want to know. That's a problem > that all academics wrestle with, all their lives. > Good luck! > > Dr. Peter Lennox SFHEA > Senior Lecturer in Perception > College of Arts, Humanities and Education > School of Arts > > e: p.len...@derby.ac.uk > t: 01332 593155 > > https://derby.academia.edu/peterlennox > https://www.researchgate.net/profile/Peter_Lennox > > University of Derby, > Kedleston Road, > Derby, > DE22 1GB, UK > > > -----Original Message----- > From: Sursound [mailto:sursound-boun...@music.vt.edu] On Behalf Of ?? > Sent: 16 August 2017 12:33 > To: sursound <sursound@music.vt.edu> > Subject: [Sursound] Sound Based Composition(surround) > > Thanks for reply. It is really helpful. > The term I used , according to Landy's writing : typically designated the > art form in which the sound is the basic unit. > I'm thinking about it and developed main question and sub questions,here > is a brief description : > > > 1 The study purpose and sub-questions > 1.1 Main Purpose > For the perception mechanism of human being, every part of the outer world > is affecting the final cognition. Thus, as sound-based music, the sources > may naturally have extra-musical information. How to use that information > appropriately to create artwork so that it could arouse people's > association and extra-musical experiences? And, How to combine it with > other art forms and effectively creates interesting perception experiences? > > 1.2 Perception > For receiving and processing, sensory system will be used and worked > together all the time. For artwork creation, including sound-based music > composition, would it possible to break the typical perception habit or > used it to create artwork according to perception principles? > 1.3Cognition > In this part, the research question focus on cognition process > (understanding through thought, experience, and existing knowledge, etc.). > In the light of above theory, if sound-based music or audiovisual artwork > could follow the path of cognition process, will it creates fantastic > artwork that brings abundant information even dramatic experiences? For > example, using symbolic melody, lyrics or sound with special meaning, and > composed them appropriately, it would be act like "access tools" (Leigh > Landy, 2007: 27) and enhance the experiences to audiences and assist them > understand the work more easily. Thus, people will focus on experience the > feelings or interact with artworks rather than struggle with questions like > what is going on here. > 1.4 Development > To develop the research ideas basis on psychoacoustics and cognitive > psychology mentioned above, when combining the sound-based artwork with > other forms of art, will innovations happen by this combination? > 1.5 Sound sculpture > As mention above, sound sculpture basis on sound-based music. Essentially, > music is trying to transmit experiences to audiences, so how about creating > sound sculpture? It is like the natural world presented to us: when we come > into a place, we will hear and see the surroundings and then understand > what has happened here, so as "sound sculpture" mentioned here. > As I'm new to write proposal, what is the essential elements to form a > research object and how specific should it be? I'm going to manipulate the > principles and compose serious of artworks . Then extract the result to > form a final dissertation. > > > Thank you very much, > Yilin > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > attachments/20170816/192f16ff/attachment.html> > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > edit account or options, view archives and so on. > > > The University of Derby has a published policy regarding email and > reserves the right to monitor email traffic. > If you believe this was sent to you in error, please reply to the sender > and let them know. > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > edit account or options, view archives and so on. > -- Dr. Augustine Leudar Artistic Director Magik Door LTD Company Number : NI635217 Registered 63 Ballycoan rd, Belfast BT88LL -------------- next part -------------- An HTML attachment was scrubbed... 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