Gary S. Kendall

Queen's University Belfast | QUB · Sonic Arts Research Centre

Innovations in music technology bring with them a new set of challenges for describing and understanding the electroacoustic repertoire. This edited collection presents a state-of-the-art overview of analysis methods for electroacoustic music in this rapidly developing field. The first part of the book explains the needs of differing electroacousti...

This article describes methods of sound synthesis based on auditory distortion products, often called combination tones. In 1856, Helmholtz was the first to identify sum and difference tones as products of auditory distortion. Today this phenomenon is well studied in the context of otoacoustic emissions, and the “distortion” is understood as a prod...

Starting from the assumption that meaning in electroacoustic music is an outcome of the listener's mental processes, it is the goal of this essay to explicate the mental processes whereby feeling and emotion contribute to meaning when listening to electroacoustic music. This essay begins with a broad consideration of feeling and emotion with an eye...

Listeners experience electroacoustic music as full of significance and meaning, and they experience spatiality as one of the factors contributing to its meaningfulness. If we want to understand spatiality in electroacoustic music, we must understand how the listener’s mental processes give rise to the experience of meaning. In electroacoustic music...

The key question posed here is how listeners experience meaning when listening to electroacoustic music, especially how they experience it as art. This question is addressed by connecting electroacoustic listening with the ways that the mind constructs meaning in everyday life. Initially, the topic of the everyday mind provides a framework for disc...

The requirements of a spatial interchange format for electroacoustic music are examined with a focus on the interrelationship between the authoring of spatial content and its interpretation in audio reproduction. 1. AUTHORING AND INTERPRETATION In context of electroacoustic music, the role of a spatial audio interchange format is to be a bridge bet...

This extended abstract outlines a proposal for an ICMC panel discussion with the intention to set on the devel-opment of a file format to create, store and share spatial audio scenes across 2D/3D audio applications and concert venues. This discussion shall include composers, sonic artists, researchers and developers in order to make such a format w...

The effect of atmospheric air turbulence on acoustic signals is modeled with the goal of producing a novel DSP technique for music and sound production. The building block of the turbulence model is called a 'turbule', a localized eddy with spherical symmetry. At the current stage of development, an operational model of a turbule is implemented in...

The concept of 'event' is examined in the context of the electroacoustic music. Initial insights are gleaned from the study of 'event' in linguistics, in particular, the work of Johnson and Lakoff that reveals universal features of how we think about 'events'. Narayanan's work on linguistic aspect serves as the basis for a proposed EVENT schema, a...

Electroacoustic music lacks a definitive vocabulary for describing its spatiality. Not only does it lack a vocabulary for describing the spatial attributes of individual sound sources, it lacks a vocabulary for describing how these attributes participate in artistic expression. Following work by Rumsey, the definition of spatial attributes is exami...

Edgard Varèse's Poème électronique can be viewed as a bridge between early twentieth-century modernism and electroacoustic music. This connection to early modernism is most clearly seen in its use of musical juxtaposition, a favoured technique of early modernist composers, especially those active in Paris. Juxtaposition and non-motion are considere...

In computer music, it is often the case that the compositional act and the parametric control of the underlying synthesis al-gorithms are not separable from each other. In these situa-tions, composition is completely intertwined with and depen-dent on the control of the synthesis parameters. The compo-sitional control of computer music by fuzzy log...

Spiritual ideas and practices from the Andes have had a strong influence on the composition of Qosqo. The title, the Quechua word for navel, also refers to an energy vortex like the one that exists at the modern city of Cusco, Peru. This composition attempts to manifest the energetic properties of the vortex, the "qosqo," in sound. The audience mem...

The rapid growth of 3‐D‐sound technology has created a need for 3‐D audio tools which can be used by musicians and composers in much the same manner that visual artists use 3‐D graphics tools. Experience with such audio tools reveals some issues of special concern for music. For example, the rapid movement of musical sound sources can create Dopple...

This paper discusses signal processing techniques that create decorrelated signals through direct means. An elaborated discussion is given on the five categories of perceptual effects: the timbral coloration and combing; the diffuse sound fields; the externalization in headphone reproduction; the lack of image shift; and the failure of precedence e...

This paper reviews 3D sound technology. It focuses on the core technical issue of 3D sound: the scientific and engineering means by which a listener of a stereo reproduction system can perceive the direction of a sound in a 3D space. The scientific basis is first discussed, followed by the practical techniques for 3D stereo reproduction.

Fruits and vegetables provide a sound world with which every human being has some familiarity. That is why the sound of fruits and vegetables being struck, broken, torn, and smashed provides an ecologically valid basis for an auditory token library to be used in scientific visualization. Introduction. Scientific visualization is a catch word for a...

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A highly modular software environment is sought for sound synthesis within the constraints of the UNIX operating system. Instead of providing composers with a single synthesis program, an environment is created that supports a collection of single-purpose synthesis programs, each designed to execute a specific synthesis or signal-processing task. E...

This article describes a novel audio synthesis technique based on sound particles, behavioral rules and fuzzy logic. Our approach borrows ideas from many-body classical physics, quantum mechanics, multi-agent and complex systems. The technique allows the creation of highly complex sonic behavior by very simple means, using the idea of a sound parti...