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Bosonica

The research imperative of Bosonica was to examine fully the relationships between intrinsic spatial attributes of the music and the external spatial characteristics of circumspace (Smalley 2007) in order to develop a musically coherent approach to 5.1 spatialisation. Electroacoustic composers often identify the limitations of the 5.1 configuration in conveying spatial variety, coherence and depth (Dow 2004, Barrett 2002), yet it remains the dominant commercial format for surround sound. An underlying aim in the composition of Bosonica was to produce a significant acousmatic work that challenges such doubts and showcases the rich variety of spatial perspectives available when working with the format.

Spatial exploration is critical at all levels in the work. Within single phrases complex networks of sonic accelerations, ascents and descents, approaches and recessions interact, resulting in a dynamic structure which explores not just a single perspectival plane, but navigates through and around each plane. To counterbalance close gestural materials, abstract landscape material is presented as a means of transcending beyond the 5.1 array. This material is characterised by sustained and/or reverberant qualities and is often pitch centred. The use of clearly defined pitch-centred material facilitates the development of underlying harmonic sequences that are critical in laying the foundations for the temporal structure of the work.

5.1 attributes are assigned to sound materials via a process of sound classification into groupings such as gestural clusters, motion trajectories, landscape material and kinetic textures. This approach was chosen to maximise coherence between intrinsic spatial elements and circumspace, resulting in one reinforcing the other to produce more stable and convincing compound spaces. These elements are then superimposed in a spatial hierarchy which is in constant flux as materials emerge and develop, blend and recede, producing dynamic and expressive spatial environments.

Premiered at MANTIS (Manchester, 2010), with three further performances to date.

Note that the URL provided gives the author name as Diana Simpson (maiden name).