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Applications of Spatial Auditory Displays in the Context ofJens Herder AbstractAuditory displays with the ability to place virtual sound sources into the space under realtime conditions enable advanced applications for art and music. The listener can be immersed on a high level while inter-acting and even participating in the experience. We review some of those applications and discuss the re-quired technology. Keywords: spatial auditory displays, interaction, spatial events, soundscape 1 IntroductionThe space and the audience have an influence on the creation of music. Composers have written pieces, targeting a specific performance situation. While recordings allow a larger audience to appreciate certain music. Even with the latest technology, recordings are not comparable to a live concert. A recording cannot reproduce the interaction between audience, space, and performers. Auditory displays with the ability to place virtual sound sources into the space under realtime conditions may allow interaction between audience and space. We give some examples of spatially arranged music elements in Section 2. In Section 3, we look at new applications in the field of art using spatial auditory display. Finally, we review virtual concerts applications in Section 4. 2 Using spatial arranged musicalComposers take advantage of spatial imagery and try to immerse the audience. In the following paragraphs, we give some well-known examples. In 1829-1830, Hector Berlioz wrote the Symphonie Fantastique [Ber30] in which spatial arrangements are an important part of the music. In the ìScene in the countryî two shepherds piping in the distance to each other. Here players of the pipes are separated from the main orchestra, creating a wonderful spacious imagery [NM80]. Karlheinz Stockhausen [Sto56] used in his ìGesang der J¨ unglingeî a multi channel recording and playback system, creating spatial movements in his composition. Andrew Lloyd Webberís musical cats [Web81] plays at special arranged theaters (e.g., Hamburg) in which the stage is around the audience and performers move freely close and behind the listener. While a listener has individual experiences, his in-teraction or participating in the performance is limited. Art installations, which are reviewed in the next section go beyond those restrictions. A much better review of the history of music space and reverberation
in general is given by Barry Blesser [Ble01].
3 Art installationsVirtual environments are influencing real art [Dol97] [Bro97] and new technology is used for various instal-lations. Feedback and complete isolation are explored in the installation of
Seiko Mikami [Mik97]. The heartbeat of the visitor is spatially auralized
and visualized. It takes place in an anechoic chamber providing total isolation.
Distance between people is visualized and auralized via a personal spatial auditory display. Participants of the installation wander around in a virtual (controlled) environment, consisting of a HMD, location tracking, and headphone. Concrete location of sound is not always desired. In the interactive
installation of Yunchul Kim [Yun01] the sound moves and is influenced by
the visitors
A helical keyboard [HC96] can visualize and auralize the cyclical nature
of octaves and helical structure of a scale, as described by [She82]. This
system takes as input a Midi stream, either preproduced as Midi file or
live performed. The notes are visualized in space by movement and color.
Each note is a distinguished sound source, allowing to differentiate a
note also spatially.
4 Spatial emancipation of the audience With spatial auditory displays allowing realtime com-position of the
experience, the audience can emancipate itself spatially from the prefabricated
(spatially
Virtual concerts are possible with the multiple audio windows [CK95] [Coh94], in which the listener can rearrange the (virtual) sound sources and sinks, creating an imagery of his own choice.
Virtual concerts are also presented in virtual environments [CK99] allowing
also the listener to take active part in the concert by substituting one
source.
With numerous tracks available on DVD and tagging of voices, and consumer
spatial auditory display becoming available, vitual concerts can become
another
References[Ber30] Hector Berlioz, Symphonique fantastique, 1830. [Ble01] Barry Blesser, An interdisciplinary synthesis of reverberation viewpoints, in press (2001). [Bro97] Sheldon Brown, Real Art and Virtual Reality, Computer Graphics 31 (1997), no. 4, 36ñ39, FO-CUS: The State of Fine Art. [CK95] Michael Cohen and Nobuo Koizumi, Audio Windows for Virtual Concerts
II: Sonic Cubism, Video Proc. ICAT/VRST: Int. Conf. Artificial
[CK99] Hartmut Chodura and Arnold Kaup, A Virtual Environment for Interactive
Music Reproduc-tion, Proceedings of IFIP TC/WG5.10 and CSI
[Coh94] Michael Cohen, Conferences, concerts, and cocktail parties: Besides immersion, JMACS: Proc. Japan Music And Computer Science Society Meeting (Musashino, Tokyo), February 1994, pp. 17ñ26. [Dol97] Margaret Dolinsky, Creating Art Through Virtual Environments,
Computer Graphics 31 (1997), no. 4, 34ñ35, FOCUS: The State of Fine Art.
[Her00] Jens Herder, Interactive Sound Spatialization - a Primer, MM News, University of Aizu Multimedia Center 8 (2000), 8ñ12, (Japanese). [Kau99] Arnold Kaup, 3D Musikproduktion für Virtual Reality Anwendungen, Masterís thesis, Fachhochschule / Robert-Schumann Hochschule, Düsseldorf, 1999. [Mae97] Akitsugu Maebayashi, Audible distance, Installation at the NTT
InterCommunication Center (ICC), Hatsudai, Tokyo, 1997,
[Mik97] Seiko Mikami, World, membrane and the dismembered body, Installation at the NTT InterCommunication Center (ICC), Hatsudai, Tokyo, 1997, http://www.ntticc.or.jp/Collection/Icc/World/index.html. [NM80] New York Philharmonic Orchestra and Zubin Mehta, Hector Berlioz:
Symphonie fantastique, op. 14, CD, The Decca Record Co. LTD., 1980,
[She82] Roger N. Shepard, Structural Representations of Musical Pitch,
The Psychology of Music (Diana Deutsch, ed.), Academic Press, December
1982,
[Sto56] Karlheinz Stockhausen, Gesang der Jünglinge (song of the youths), 1955/56, http://www.stockhausen.org/ tape loops.html. [Web81] Andrew Lloyd Webbers, Cats, Musical, 1981,
[Yun01] Kim Yunchul, Implex, Installation at Altitude 2001, Academy of Media Arts, Cologne, Jul 2001. |