Skip to main content
×
Home

Wireless Body-worn Sound System for Dance and Music Performance

  • Felipe Otondo (a1)
Abstract

The role of spatial design in music has become more prominent in recent years, mostly because of the affordability of powerful software and hardware tools. Although spatial audio tools are widely used nowadays in studios and concert halls, there are only few examples of robust and comfortable wearable sound systems with a suitable acoustic response. A wireless body-worn loudspeaker prototype featuring original costume elements, a hybrid full-range loudspeaker array and an improved acoustic response was designed and implemented. The size, shape and acoustic performance of the prototype was optimised using data gathered from anechoic measurements and interviews with performers and audiences. Future developments of this project will consider the implementation of an extended multi-channel performance platform to explore sonic and spatial relationships created by several wearable devices on stage synchronised with a multi-loudspeaker diffusion system.

Copyright
Corresponding author
Email: felipe.otondo@uach.cl
References
Hide All
Aylward R. and Paradiso J. 2006. Sensemble: A Wireless, Compact, Multi-user Sensor System for Interactive Dance. Proceedings of the 2006 International Conference on New Interfaces for Musical Expression, Paris.
Bates E. 2009. The Composition and Performance of Spatial Music. PhD thesis, Trinity College, Dublin.
Bech S. and Zacharov N. 2006. Perceptual Audio: Evaluation-theory, Method and Application. Chichester: John Wiley.
Birringer J. 2010. Moveable Worlds/Digital Scenographies. International Journal of Performance and Digital Media 6(1): 89107.
Birringer J. and Danjoux M. 2013. The Sound of Movement Wearables: Performing UKIYO. Leonardo 46(3): 232240.
Birringer J. and Danjoux M. 2014. Audible and inaudible choreography. Etum – E-journal for Theatre and Media 1(1): 932.
Born G. 2013. Music, Sound and Space: Transformations of Public and Private Experience. Cambridge: Cambridge University Press.
Borwick J. 2001. Loudspeaker and Headphone Handbook. Oxford: Focal Press.
Brant H. 1967. Space as an Essential Aspect of Musical Composition. In E. Schwartz and B. Childs (eds.) Contemporary Composers on Contemporary Music. New York: Holt, Rinehart and Winston.
Di Scipio A. 2003. Sound is the Interface’: From Interactive to Ecosystemic Signal Processing. Organised Sound 8(3): 269277.
Globokar V. 1980. La tromba è mobile. London: C. F. Peters editions.
Greenlight AV. 2010. Research and Development of Body Worn Speaker Systems for Lancaster University. Lancaster University internal report.
Hahn T. and Bahn C. 2002. Pikapika – The Collaborative Composition of an Interactive Sonic Character. Organised Sound 7(3): 229238.
Harley M. 1998. Spatiality of Sound and Stream Segregation in Twentieth Century Instrumental Music. Organised Sound 3(2): 147166.
Harley M. 1994. Spatial Sound Movements in the Instrumental Music of Iannis Xenakis. Journal of New Music Research 23(3): 291314.
Jones S. 2013. The Mobile Device: A New Folk Instrument? Organised Sound 18(3): 229305.
Kollias A. 2004. An Introduction to Henry Brant’s Spatial Music Through his Work ‘Ice Field’. MA thesis, City University, London.
Lanzalone S. 2000. Hidden Grids: Paths of Expressive Gesture between Instruments, Music and Dance. Organised Sound 5(1): 1726.
Lynch H. and Sazdov R. 2011. An Investigation into Compositional Techniques Utilized for the Three-dimensional Spatialization of Electroacoustic Music. Proceedings of the Electroacoustic Music Studies Conference, New York.
Musgrave T. 1974. Horn Concerto. London: J & W Chester/Edition Wilhelm Hansen.
Otondo F. 2007. Creating Sonic Spaces: An Interview with Natasha Barrett. Computer Music Journal 31(2): 1019.
Otondo F. 2008. Contemporary Trends in the Use of Space in Electroacoustic Music. Organised Sound 13(1): 7781.
Otondo F. 2010a. Rediscovering Artaud’s Sonic Order. Journal of Music and Meaning 9(Winter). 310.
Otondo F. 2010b. Mobile Sources in Two Music Theatre Works. Proceedings of the International Computer Conference, New York.
Otondo F. 2011. Flexible Spatial Design for Dance Performance. Proceedings of the International Computer Music Conference, Huddersfield, UK.
Otondo F. 2013. Using Spatial Sound as an Interdisciplinary Teaching Tool. Journal of Music, Technology and Education 6(2): 179190.
Peters N. 2010. Sweet [re]Production: Developing Sound Spatialization Tools for Musical Applications with Emphasis on Sweet Spot and O-center Perception. PhD thesis. McGill University, Montreal.
Peters N., Marentakis G. and McAdams S. 2011. Current Technologies and Compositional Practices for Spatialization. Computer Music Journal 35(4): 1027.
Powell T. 2007. Review of ‘To have done with the judgment of Artaud’. www.broadwaybaby.com/shows/to-have-done-with-the-judgment-of-artaud/24795 (accessed in May 2015).
Salomon J. 2007. Spatialization in Music: The Analysis and Interpretation of Spatial Gestures. PhD thesis. University of Georgia, Athens, Georgia.
Samdanis M., Kim Y. and Lee S. 2013. The Emergence of Wearable Space: A Review and Research Implications. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems.
Sazdov R. 2011. The Influence of Subwoofer Frequencies Within a Multi-channel Loudspeaker Configuration on the Perception of Spatial Attributes in a Concert-hall Environment. Proceedings of the International Computer Music Conference, Huddersfield, UK.
Schiemer G. and Havryliv M. 2007. Pocket Gamelan: Swinging Phones and ad hoc Standards. Proceedings of the 4th International Mobile Music Workshop, Amsterdam.
Stahl A. and Clemens P. 2010. Auditory Masquing: Wearable Sound Systems for Diegetic Character Voices. Proceedings of the Conference on New Interfaces for Musical Expression, Sydney.
Stefani E. and Lauke K. 2010. Music, Space and Theatre: Site-specific Approaches to Multichannel Spatialisation. Organised Sound 15(3): 251259.
Stockhausen K. 1961. Music in Space. Die Reihe 5: 6782.
Tanaka A. and Gemeinboeck P. 2006. A Framework for Spatial Interaction in Locative Media. Proceedings of the 2006 International Conference on New Interfaces for Musical Expression, Paris.
Tooper D. and Swendsen P. 2005. Wireless Dance Control: PAIR and WISEAR. Proceedings of the 2005 International Conference on New Interfaces for Musical Expression, Vancouver.
Trochimczyk M. 2001. From Circles to Nets: On the Signification of Spatial Sound Imagery in New Music. Computer Music Journal 25(4): 3956.
UKYO. 2010. Moveable Worlds – Programme Notes. Design and Performance Lab. Lilian Baylis Studio, Sadler’s Wells, London, 26 November.
Wilkins C. and Ben-Tal O. 2010. The Embodiment of Music/Sound Within and Intermedia Performance Space. Proceedings of the 5th International Conference on Digital Arts.
Wilson S. and Harrison J. 2010a. Editorial. Organised Sound 15(3): 183184.
Wilson S. and Harrison J. 2010b. Rethinking the BEAST: Recent Developments in Multichannel Composition at Birmingham ElectroAcoustic Sound Theatre. Organised Sound 15(3): 239250.
Zvonar R. 2005. A History of Spatial Music. eContact! 7(4). http://cec.sonus.ca/econtact/7_4/zvonar_spatialmusic.html (accessed March 2015).
Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×

Metrics

Full text views

Total number of HTML views: 1
Total number of PDF views: 50 *
Loading metrics...

Abstract views

Total abstract views: 142 *
Loading metrics...

* Views captured on Cambridge Core between September 2016 - 24th November 2017. This data will be updated every 24 hours.