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Sound Artist - Essay Example

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Sound Artist Introduction Design, arrangement ant manipulation of the space’s physical properties is called “mother of arts” architecture. Architecture is different from other forms of arts, for the daily movement it generates spaces. Moreover, it attracts the artistic tastes, when it is more than merely useful…
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Sound Artist

Download file to see previous pages... This process is just like writing a poem1. Architects completely keep in mind the visual dimensions of a structure for communicating the historical, emotional, artistic and social background of the space. However, they neglect, usually, the acoustic dimensions. To feel space through listening has never been identified as native ability of humans. However, dolphins and bats are classified in this category. Nonetheless, no specific qualities are required to sense spatial qualities. The hardwired segment of human beings is rudimentary spatial ability and it is a genetic part of human body. For instance, the utilization of headphones for listening music has its own affect; however, if the headphones are removed after listening music then walking in the room makes a different impact; the sounds of walking are clearer now. Even if a person walk blind fold in his/her room he/she would be able to recognize paths through its resonances2. Maryanne Amacher These are called acoustic spatial dimensions of sound. Several composers utilized this feature in their compositions; however, the work of Maryanne Amacher is unforgettable and commendable. She was born in Kane Pennsylvania. Her father was a Swiss freight train worker while her mother was a nurse. She was the only child in the family. At very early age, she learned to play piano. She graduated in computer and acoustics science. From the beginning of her musical and composition career, she was interested in different variations of sound. In this respect, she implemented different kind of microphones and she got the help of many loudspeakers to create her so-called airborne sound. She experimented her techniques at all levels and achieved great success3. Her famous catalogue “Sound Character” is a masterpiece. The catalogue has seven compositions. 1."Head Rhythm 1" and "Plaything 2" 2. Tower 3. Synaptic Island (excerpt "VM2 from the Levi-Montalcini Variations") 4. Synaptic Island (excerpt "Tower Meta1s", "Feed2", "Muse Orchestra 1") 5. Dense Boogie 1 6. Choral 1 The analysis of Maryanne Amacher’s Compositions The American composer and installation performer Maryanne Amacher had completely a different method. She composed CD Sound Character to vibrate the hidden ear “Third Ear”. Her theory was very different from all of his contemporary artists. The CD Sound Character has seven tracks and many of them are related to ‘third-ear music’. The music resounds in the head and it seems different from the music that originates through loudspeakers. In addition, the CD is comprised of atmospheric sound installations, multi-channel re-mastered excerpts. These re-mastered excerpts originate sound, which is not only hears but also feels in the whole body and the room becomes speaker itself. However, to compose for the body is a unique issue. It needs fresh models of aural analysis and treatment because the listening point is shifted from the ears to the tissues of the body, which provokes memories, psychic and physical association and intertwine of information. Can the body is able to work out a plan for sound stage? Can these worked out plans free different bodies and association among spaces and bodies? The concept of embodied listening and disrupt traditional models of describing and hearing sound are similar to Donna Haraway’s (1991) ‘embodied objectivity’4. The tracks 3, 4, and 7, which she started to originate in 1980 are multi-room, multi-channel large-scale pieces and these tracks ...Download file to see next pagesRead More
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