AES Dublin 2019
Workshop W12
Friday, March 22, 12:00 — 13:30 (Liffey Hall 2)
W12 - Spatial Audio for Contemporary Music Performances and Theater
Chair:Enda Bates, Trinity College Dublin - Dublin, Ireland
Panelists:
Jimmy Eadie, Trinity College Dublin - Dublin, Ireland
Fergal Dowling, Dublin Sound Lab - Dublin, Ireland
Gráinne Mulvey, Dublin Sound Lab - Dublin, Ireland
Alexis Nealon, Quiet Music Ensemble - Dublin, Ireland
Ji Youn Kang, Institute of Sonology - The Hague, Netherlands
This panel discussion will focus on practical issues relating to the use of spatial audio in theater and contemporary music performances and will concentrate on the practical issues that arise in such works and how engineers can adapt artistic requirements to the particular features of different venues and loudspeaker systems.
The panel will be chaired by Enda Bates, a composer and engineer whose research frequently explores the practical issues of delivering spatial audio to distributed audiences.
Jimmy Eadie is a founding member and sound engineer for the Crash Ensemble, and also an award winning theatre sound designer. His work frequently employs spatial audio, most notably for the theatrical presentation of radio plays by Samuel Beckett such as 500+ loudspeakers used for Embers, and the binaural production of Cascando, both in collaboration with PanPan Theatre.
Fergal Dowling, Gráinne Mulvey, and Alexis Nealon have composed and engineered numerous works of spatial contemporary music for composers and ensembles such Dublin Sound Lab, the Quiet Music Ensemble, Kaija Saariaho, Karlheinz Essl, and Jonathan Harvey. They will discuss the importance of communication between composers and engineers, and the challenge of implementing varying spatial strategies within a single concert programme, particularly in terms of their work on the Music Current Festivals in Dublin.
Ji Youn Kang is a composer and member of the Institute of Sonology, the Hague. Most of her music pieces have been composed based on the rites of Korean Shamanism, and many of them were written for Wave Field Synthesis System (192 loudspeakers) playback, exploring the relationship between musical and physical spaces.