Edinburgh Napier University

  This is an electroacoustic sound-installation work over 16 channels which forms a pyramid-like structure to surround the audience.

There are many examples in the electroacoustic repertoire that take natural elements as the focal point for a work, but that is from where this work emerges and in some senses augments:

• the work’s complex spatialisation structure (realised through detailed Protools automation programming), confirms the importance of aural location for the effective appreciation of sonic dramaturgy, particularly when it unfolds over 3 trajectoral planes.

• through the presentation of literally thousands of separate samples of un-treated (no DSP) water sounds, a demonstration is made of the compositional richness for ‘naturally’ occurring sonic events, and that analytical, microscopic editing, can allow for their effective ‘musicalisation.’

• there is the blending of post-structural, post-serial and probabilistic compositional techniques applied to sonic events from the micro right through to the macro level (i.e. sample type, trajectory type, spatial ambit, the evolving and blending of structural sections etc.), this was achieved by way of a variety of programming routines including programming platforms such as Open Music and MAX/MSP.