Acoustic Identity
Acoustic Identity
In my work, D-F-R, the crystal paths themselves are still a static representation of the written music.The dynamic component is introduced by the visual representation of the instrumental voices themselves as they traverse these paths. These representations are designed to reflect the physical nature of the sound production and express the harmonic signature of the respective instrument .
In the case of D-F-R which is a composition for three cellos, the fundamental concept of a vibrating string as the center for tone production is represented in a visually consistent manner. Other aspects of the sound production, ie. the effect of the bow pulling the string, is shown as the string moving from side to side in the direction of the bow stroke. The change in pitch, despite already being manifest in the structure of the crystal path, is reinforced by a changing string length, maintaining a subtle consistency with the physics of tone production in a string instrument.
To unify the relationship between the instrumental voice and its visual representation it is a necessary requirement that the dynamic timbrel qualities we hear are also immediately translated visually. The harmonic content of an individual voice is, in this case, shown as a spectrogram wrapped around the relevant string.
Although the specific acoustic function of a spectrogram my be unfamiliar to the general audience, it has the capacity to reflect immediate and synchronised visual changes to timbrel and volume changes.
These elements come together to produce a cohesive visual/acoustic relationship allowing the audience to easily identify and follow separate voices throughout the work.
