Natasha Barrett, Karen Mair (19/1)

Aftershock: A science–art collaboration through sonification

26 Sound examples and 3 Movie examples

Sound example 1: Numerical simulations data, all events sonified over 20 seconds by Natasha Barrett (2011) – 0′20″

Sound example 2: Numerical simulations data, magnitudes above 0.7, split into five magnitude bands, 10-minute sonification, first 60 seconds by Natasha Barrett (2011) – 1′00″

Sound example 3: Numerical simulations data, 10-minute sonification with sine tone as input, first 15 seconds by Natasha Barrett (2011) – 0′15″

Sound example 4: Numerical simulations data, 10-minute sonification with sine tone as input, 15 seconds after 4 minutes by Natasha Barrett (2011) – 0′15″

Sound example 5: Emissions data, with time-line moved and spatialised in interactive space, extract by Natasha Barrett (2011) – 1′15″

Sound example 6: Input sound for sound example 7 by Natasha Barrett (2011) – 0′01″

Sound example 7: Numerical simulations data, all events sonified over 10 minutes, first 30 seconds by Natasha Barrett (2011) – 0′30″

Sound example 8: Numerical simulations data, five magnitude bands sonified to 10 minutes, first band, first 10 seconds by Natasha Barrett (2011) – 0′10″

Sound example 9: Numerical simulations data, five magnitude bands sonified to 10 minutes, second band, first 10 seconds by Natasha Barrett (2011) – 0′10″

Sound example 10: Numerical simulations data, five magnitude bands sonified to 10 minutes, third band, first 10 seconds by Natasha Barrett (2011) – 0′10″

Sound example 11: Numerical simulations data, five magnitude bands sonified to 10 minutes, fourth band, first 10 seconds by Natasha Barrett (2011) – 0′10″

Sound example 12: Numerical simulations data, five magnitude bands sonified to 10 minutes, fifth band, first 10 seconds by Natasha Barrett (2011) – 0′10″

Sound example 13: Numerical simulations 10 minute version used in Crush, first 90 seconds by Natasha Barrett (2011) – 1′30″

Sound example 14: Particle 10631066 sonified over 20 seconds, virtual microphone position in the centre of the dataset space by Natasha Barrett (2011) – 0′20″

Sound example 15: Particle 10631066 sonified over 20 seconds, space scaled to that of the particle’s spatial motion, virtual microphone position in the centre of this motion by Natasha Barrett (2011) – 0′20″

Sound example 16: Six particles mixed together, spatial dimension and x–y microphone location at the average of the six particles, z microphone location placed centrally for individual particles by Natasha Barrett (2011) – 0′20″

Sound example 17: Example 8.3 scaled to 100 seconds, first 70 seconds by Natasha Barrett (2011) – 1′10″

Sound example 18: Mix 30 particles’ cluster changes sonification using input from Sound example 19 by Natasha Barrett (2011) – 0′57″

Sound example 19: Input sound for example 18 by Natasha Barrett (2011) – 0′05″

Sound example 20: Trajectory of particle 4531543 at 20 seconds’ scaling with cluster breakages mixed in by Natasha Barrett (2011) – 0′20″

Sound example 21: Acoustic emissions sandstone waveform transposed down 10 octaves by Natasha Barrett (2011) – 0′14″

Sound example 22: Acoustic emissions basalt waveform transposed down 10 octaves by Natasha Barrett (2011) – 0′12″

Sound example 23: Acoustic emissions granite waveform transposed down 10 octaves by Natasha Barrett (2011) – 0′13″

Sound example 24: Acoustic emissions granite transposed and spatialised, with fracture events by Natasha Barrett (2011) – 0′25″

Sound example 25: Acoustic emissions data sonified at a 33-second duration with alternative input sound by Natasha Barrett (2011) – 0′33″

Sound example 26: Acoustic emissions composition using sonification and scientific ultrasonic recordings by Natasha Barrett 2011) – 3′40″

Movie example 1: Numerical simulations, granular debris model. The sound addresses fracture events above a magnitude value of 0.7 in a possible range of 0–1 by Karen Mair (2013) – 0′20″

Movie example 2: Animation of figure 4, numerical simulations tracing 6 particles and their parent grains. Sound track is from Sound example 15 where space is scaled to that of the particle’s spatial motion and refers to the light blue particle on the left by Karen Mair (2013) – 0′21″

Movie example 3: Animation showing locations of laboratory-induced acoustic emissions (and hence micro-fractures) with time by Alex Schubnel, with permission (2007) – 0′06″

Mark Ballora (19/1)

Sonification, Science, and Popular Music: In search of the ‘wow’

14 Sound examples

Sound example 1: The seven Schumann resonance frequencies, transposed up three octaves. Each is synthesised as a sine oscillator and filtered noise combination. They are panned evenly across the stereo field. The 5 per cent variation found with each frequency is simulated by slow, linear sample and hold low-frequency oscillators, applied to each oscillator-noise combination’s pitches and the pan positions. – 3′06″

Sound example 2: Scale created from the ratios of the nine planets’ distances from the sun, transposed by a series of octaves until they all fall within an octave span, between 1/1 and 2/1. The nine pitches are played with a Karplus-Strong plucked string sound – 0′06″.

Sound example 3: The nine planetary scale pitches are played repeatedly at rates proportional to their relative orbit times. A whirring sound simulates the motion around the sun, and a low buzz represents their relative inclinations. They are heard in the sequence of Earth, Venus, Mercury, Mars, Jupiter, Saturn, Uranus, Neptune, Pluto – 2′29″.

Sound example 4: Audification of earthquake centred in Virginia on 23 August 2011, data measured at Standing Stone, PA – 0′03″.

Sound example 5: Audification of earthquake centred in Virginia on 23 August 2011, data measured at Albuquerque, NM – 0′03″.

Sound example 6: Audification of earthquake centred in Virginia on 23 August 2011, data measured at College Outpost, AK – 0′03″.

Sound example 7: Sonification of earthquake centred in Virginia on 23 August 2011, data measured at Fredericksburg, Observatory, Corbin, VA. Data values reflect vertical displacements of earth’s surface, and are mapped to pitch, filter cut-off frequency, and pan position – 0′41″.

Sound example 8: Sonification of Golden Gate Bridge motion during earthquake occurring on 17 August 1999. Displacement is measured on three axes: up–down, north–sound and east–west. Sound has ‘rumble’ and ‘sizzle’ components, somewhat like a gong. Up–down data values are mapped to pitch, tremolo rate and tremolo amplitude. North–south values are mapped to the volume of the sizzle and the sizzle’s centre frequency. East–west values are mapped to the filter’s bandwidth, the reverb level, and the pan position of the sound – 0′44″.

Sound example 9: Sonification of Golden Gate Bridge motion under normal conditions, measured 22 July 2011. The same sound and mappings are applied as those heard in Sound example 8 – 2′33″.

Sound example 10: Sonification of a portion of the spectrum of galaxy NGC1300. A gong-like sound is used in an attempt to simulate a distant wind-chime. The intensity values are mapped to pitch, inter-chime time and volume – 0′51″.

Sound example 11: Sonification of a portion of the spectrum of galaxy NGC4414. A wood-like sound is used in an attempt to simulate a distant wind-chime. The intensity values are mapped in the same fashion as with Sound example 10 – 0′44″.

Sound example 12: Sonification of a portion of the spectrum of galaxy NGC4594 (aka Messier 104, the ‘Sombrero galaxy’). A whispery chime-like sound is used in an attempt to simulate a distant wind-chime. The intensity values are mapped in the same fashion as with Sound example 10 – 0′42″.

Sound example 13: Sonification of a portion of the spectrum of galaxy NGC5194 (aka Messier 051a). A whispery sparkle sound is used in an attempt to simulate a distant wind-chime. The intensity values are mapped in the same fashion as with Sound example 10 – – 0′16″.

Sound example 14: Sonification of a portion of the spectrum of galaxy NGC5866. A bell-like sound is used in an attempt to simulate a distant wind-chime. The intensity values are mapped in the same fashion as with Sound example 10 – 0′33″.

Ryo Ikeshiro (19/1)

Audification and Non-Standard Synthesis in Construction in Self

5 Sound examples

All sound examples from Construction in Self (2009).

Sound example 1. One section from the work – 1′05″

Sound example 2. Audification of Figs. 1 to 12 – 0′25″

Sound example 3. Audification of Figs. 1 to 12 transposed up two octaves – 0′25″

Sound example 4. Audification of Figs. 13 to 24 – 0′25″

Sound example 5. Audification of Figs. 13 to 24 transposed up two octaves – 0′25″

Steven Naylor (19/2)

Appropriation, Culture and Meaning in Electroacoustic Music: A composer’s perspective

9 Sound examples

Sound example 1: Common Loon call, from Loon Calls, iLife Sound Effects (Animals). Apple Inc. (2007) – 0′13″

Sound example 2: Opening section, from Bitter Orchids – 0′49″

Sound example 3: Lisu flute, from Bitter Orchids – 0′19″

Sound example 4: Altered koto samples, from Irrashaimase – 0′23″

Sound example 5: Altered shakuhachi samples, from Irrashaimase – 0′18″

Sound example 6: Traffic light song, from Irrashaimase – 0′30″

Sound example 7: Store greeters, from Irrashaimase – 0′22″

Sound example 8: Unaltered song excerpt, from Home – 0′18″

Sound example 9: Transformed vocal material, from I wish – 0′55″

Ozgun Eylul Iscen (19/2)

In-Between Soundscapes of Vancouver: The newcomer’s acoustic experience of a city with a sensory repertoire of another place

4 Sound examples

Sound example 1: Recording of crossing the border recorded by a participant – 0′38″

Sound example 2: Recording of singing in German recorded by a participant – 0′59″

Sound example 3: Recording of the installation recorded by the author – 4′58″

Sound example 4: Recording of wind chime recorded by a participant – 0′49″

Manuella Blackburn (19/2)

Instruments INDIA: A sound archive for educational and compositional use

7 Sound examples

Sound example 1: Heavy transformation processes disguising both the cultural and instrumental origin from Javaari (2013) by Manuella Blackburn – 0′16″

Sound example 2: Isolated single sitar plucks from Javaari (2013) by Manuella Blackburn – 0′17″

Sound example 3: Isolated sitar neck scrapes from Javaari (2013) by Manuella Blackburn – 0′05″

Sound example 4: Identifiable tabla rhythm from Javaari (2013) by Manuella Blackburn – 0′09″

Sound example 5: Electroacoustic material forming a supportive backdrop to the activity of the sarod from New Shruti (2013) by Manuella Blackburn – 0′38″

Sound example 6: Electroacoustic material synchronising rhythmically to mirror the sarod line from New Shruti (2013) by Manuella Blackburn – 0′48″

Sound example 7: Repeating sitar loop acting as an onset for a sustained drone from Javaari (2013) by Manuella Blackburn – 0′20″

Herber, Norbert (19/2)

Awa Surfers: riding the dynamics of sound art and traditional Japanese indigo

13 Sound examples

Sound example 1: An artist speaking about a shade of the darkest blue that cannot be dyed any further says, ‘I feel like the color is inhaling me’, by Norbert Herber (2014) – 0′40″

Sound example 2: Speaking about Awa Indigo in general, a dyer says it ‘calls out to the soul of the Japanese people’, by Norbert Herber (2014) – 0′05″

Sound example 3: With the hope that a family tradition will continue, an indigo processor says ‘The work is done by the two of us [my son and me]. My grandmother passed it [the knowledge of indigo production] on to my mother [who passed it on to me]. Now I hope to pass it on to my son’, by Norbert Herber (2014) – 0′12″

Sound example 4: Stomping or winnowing dried indigo plants, by Norbert Herber (2014) – 0′16″

Sound example 5: Harvesting in the indigo field, by Norbert Herber (2014) – 0′12″

Sound example 6: Single drop recorded beneath the dye vat surface, by Norbert Herber (2014) – 0′12″

Sound example 7: Dye dripping into the vat, by Norbert Herber (2014) – 0′15″

Sound example 8: Dye drip melodies, first in isolation then in the context of the entire work, by Norbert Herber (2014) – 0′50″

Sound example 9: Rhythmic ceramic vat stir, by Norbert Herber (2014) – 0′09″

Sound example 10: Rhythmic ceramic vat stir with processing, by Norbert Herber (2014) – 0′17″

Sound example 11: Rhythmic ceramic vat stir with processing and detuning. Listen for the brief drops in volume to mark new sections in which the pitch of the stirring sound is noticeably lower, by Norbert Herber (2014) – 2′06″

Sound example 12: Granulated clock chimes playing Yuyake–Koyake, by Norbert Herber (2014) – 0′59″

Sound example 13: I am Ai, We are Ai excerpted installation recording from the opening day, by Norbert Herber (2014) – 8′47″

Filipe Lopes (19/3)

Do Desenho e do Som: Harmonising screen-scores and listening

1 Sound example

Sound example 1: Live recording of Do Desenho e do Som #4, for ensemble and live electronics – 10′40″

Ian Whalley (19/3)

GNMISS: A scoring system for Internet2 electroacoustic music

1 Sound example

Sound example 1: SymbolAct (2012) – 10′08″. 121212 6th Annual UpStage Festival of Cyberperformance. Christchurch, New Zealand; Wellington, New Zealand; Buenos Aires, Argentina; Oslo, Norway; Munich, Germany; Pancevo, Serbia; Montpellier, France; Eindhoven, Netherlands; Nantes, France; Holstebro, Denmark; Linz, Austria; Exeter, UK – recorded live 5–12 December 2012. Performers: Ian Whalley – wind synthesizer, iPads, foot controllers, synthesizer programming (Hamilton, New Zealand); Ivan Zavada – violin (Sydney, Australia)

Arne Eigenfeldt (19/3)

Generative Music for Live Performance: Experiences with real-time notation

3 Movie examples

Movie example 1: Coming Together: Notomoton (excerpt) – 1′59″

Movie example 2: More Than Four (excerpt) – 1′17″

Movie example 3: An Unnatural Selection (excerpt from movement 1) – 2′59″