While the relationship between space and openness has been explored in electroacoustic music since the 1960s, and contemporary composers have shown increasing interest in contingency, recent advancements in ambisonics, sound diffusion, and VR have granted composers greater control over the spatial image presented to the listener. This article revisits the discussion of space and openness through the lens of the author’s artistic practice and compositional experience, framed by new materialism, object-oriented philosophy and relational space theory. Through case studies from the author’s work, it examines spatialisation strategies that emphasise openness and the agency of sound materials. These strategies include sound source localisation, networks of family resemblances and parametric spatialisation, aiming to create an open sound experience that maintains identity while allowing agency for the sound material, the listener and the composer. In light of current global crises, partly driven by total control and exploitation, this article advocates for rethinking compositional practices to foster open sound experiences that reflect dynamic interactions between composer, material and listener.

“It is commonly accepted in Europe, and widely known here, that the originators of minimalism are Terry Riley, Steve Reich, and Phil Glass,” begins a column published in the Village Voice in July 1982, by the composer and music critic Tom Johnson.1 Johnson was a crucial presence in the New York experimental music scene—and perhaps the central voice in identifying the nascent aesthetic of musical minimalism—but was dissatisfied with how narrowly this movement of drone- and repetition-based musics had come to be defined. Though Johnson expressed sympathy with the tendency to “reduce music history to a rather short list of Great Men,” he also interrogated the notion of list-making, and the problematic framework of “original minimalist,” providing 27 names that might better elucidate the category—knowing also that, as he put it, “more accurate lists get too long and bulky.”

This article addresses the question of experiential dimensions of space in sound, in electroacoustic music and sound arts practices in particular. We suggest that these practices are limited by the generalised way that spatial audio techniques are communicated, and we attempt to develop a tentative method that would enable discussion and sharing of spatial aspects in sonic environments. These modes of articulation would permit a translation of the experience of space in sound into other modalities. Reporting from a series of workshops, we outline a three-phase method that moves through the stages of listening, describing, recreating and imagining the sonic spaces. In the final stage, a speculative design approach shows that shared sonic spatial experiences are essentially relational. Topics relating to expectations, biases and language – such as memory and imagination – and the methods of mapping and speculative design are addressed in the discussion. Through the explorations presented in this article it becomes evident that different artistic musical practices still show the same need to develop articulations that enable the integration and communication of spatial relationships. The divide between the development of new technologies for spatial audio and the conceptual frameworks for understanding and communicating spatial sonic knowledge can be bridged, and eventually the development of spatial audio should be fuelled by the dynamics between these two poles.

In autumn 2023, the Curtis R. Priem Experimental Music and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute presented Shifting Center, an exhibition that explored sound through geological formations, architecture, and cultural artefacts. Using spatialisation techniques such as higher-order ambisonics and wave field synthesis, the works created immersive and disorienting auditory experiences. Curators Vic Brooks and Nida Ghouse framed ‘shifting centre’ as a metaphor for dislocation, evoking feminist and political theories of marginalised peripheries and centralised power. While the exhibition was conceptually and technically ambitious, we argue that the aurality of EMPAC itself – marked by abstraction, isolation and immersion – ultimately muted its decolonial potential. By tracing a lineage of spatial audio from the 1958 Philips Pavilion, we examine how architectural acoustics shape the possibilities of what can be heard in EMPAC, limiting the aural and more-than-aural reception of works presented there.

Only months after starting as KPFA’s music director, Charles Amirkhanian launched the radio show Ode to Gravity in March 1970. The evocative name referred to his 1968 experimental theatre piece that involved dropping objects such as a marble and car fender into a circle of spectators. The radio programme similarly released a range of avant-garde music and sound objects over the airwaves, reflecting Amirkhanian’s preferred title as KPFA’s ‘Sound Sensitivity Information Director’. Informed by analyses of archival broadcasts and other primary sources, this article frames Ode to Gravity as a conceptual extension of the 1968 piece and long-running ‘sound sensitivity’ experiment that sought to make sense of the contemporary musical landscape by collecting and propagating sonic data. Ode to Gravity’s consciousness-raising mission broadly, and the changes in content and presentation style over its twenty-five-year history specifically, add further texture to our understanding of post-war avant-garde impulses in music and sound.

Although Adolphe Sax’s serpentine invention hailed from Belgium, and then France, saxophones today are widely perceived as symbols of United States-led popular modernity. This image’s strength occludes a largely unknown antipodean precursor: the instrument debuted in British colonial Australia before being first heard across the Atlantic. This article foregrounds the goldrush-era Australian introduction of an instrument otherwise known as a ‘turkophone’, by enigmatic French musician Charles Jean-Baptiste Soualle, known in his orientalist stage persona as ‘Ali Ben Sou Alle’, from December 1852 to July 1855.

This article establishes the European origins of Soualle’s act and examines its effusive Australian reception through a historical musicology lens, before discussing the cultural dynamics key to this episode’s geographic context. While a Saidian, Orientalism-inspired critique sheds some light on the appeal of ‘Ali Ben Sou Alle’ to Australian audiences, Soualle’s local success was perhaps most notably underwritten by geopolitical events. For example, the 1853 outbreak of the Crimean War, which pitted the allied imperial French, British, and Ottoman powers against Tsarist Russia, challenged a nascent Australia’s sense of itself and place in the world, and provided Soualle an opportune, sympathetic platform from which to compose and perform. Remarkably, given characterizations the instrument signified in the Jazz Age decades hence, Soualle’s saxophone also embodied notions of freedom for its mid-nineteenth-century Australian audiences.

This episode, and its thematic resonances, offers insights into histories of touring musicians, understandings of music and coloniality, musical globalism, and the saxophone’s symbolic malleability prior to its rise to worldwide prominence.