UC Santa Cruz

The methodology explored in this cycle of compositions conceptualizes physical space and sound as hybrid compositional elements. This work builds on previous experiments with spatial awareness through sound localization. For example, orchestral piece Terretektorh by composer Iannis Xenakis displays acoustic immersive acoustic design, or multimedia piece Great Animal Orchestra by sound artist Bernie Krause that shows a collection of recorded soundscapes in different locations. Three compositions — Hombre-Pájaro, ži’ilœ and Nat.er.ura — comprise the focus of the present study. Each piece engages physical space as a compositional tool, combining ecology and spontaneous improvisation. Hombre-Pájaro combines a collage of granulated soundscapes as a sound-installation with a trio improvising on the top of the soundscapes. The piece ži’ilœ uses an open score to be interpreted in multiple ways by the musicians. The melodic material in ži’ilœ is the result of an algorithmic process of pitch contour recognition applied to a soundscape. And finally Nat.er.ura, a composition that conglomerates musical improvisation with modulated soundscapes.