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Lavoie THESIS.Pdf University of Huddersfield Repository Lavoie, Sébastien My Practice of Live Performance of Spatial Electronic Dance Music Original Citation Lavoie, Sébastien (2019) My Practice of Live Performance of Spatial Electronic Dance Music. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34954/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ My Practice of Live Performance of Spatial Electronic Dance Music by Sébastien Lavoie A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements, for the degree of Doctor of Philosophy Department of Music, Humanities and Media University of Huddersfield May 2019 2 Contents Abstract p. 5 Copyright p. 6 Dedication p. 7 Acknowledgements p. 8 List of works submitted and portfolio links p. 9 Introduction p. 11 1 - Consideration of Space in the presentation of EDM p. 28 1.1 - Why use large multichannel spatialisation techniques? p. 28 1.2 - Why spatial music? p. 29 1.3 - Temples for sound spatialisation p. 34 1.3.1 - 4DSOUND System p. 34 1.3.2 - Dolby Atmos p. 39 1.3.3 - SARC - The Sonic Laboratory p. 42 1.3.4 - Sound Field Synthesis Methods p. 44 1.3.5 - SPIRAL Studio p. 46 1.4. - Composition and spatialisation tools p. 48 1.4.1 - How do software and hardware tools affect my workflow 1.5 - Spatialisation and EDM: My setup p. 51 1.6 - Studio - Binaural Mix p. 62 2 - Composition As Performance p. 65 2.1 - Music Styles - Techno-House-Trance p. 69 2.2 - Composition Overview p. 73 3 2.3 - Compositional Flow p. 80 2.4 - Structure: process and intuition p. 85 2.5 - Improvisation p. 90 2.6 - Conclusion: outlets and dissemination p. 93 3 - Performance As Composition p. 95 3.1 - A Case Study: GusGus’ performance setup p. 99 3.2 - Rethinking Composition as Performance p. 102 3.3 - Why 123-28bpm? p. 108 3.4 - Physical response p. 111 3.5 - Live performance and Musical Flow p. 114 3.6 - Methodology for the emerging artists p. 117 3.7 - Experimentation with Live Spatialisation p. 120 Conclusion p. 126 Bibliography p. 129 Discography p. 135 Appendix I - Early works or projects produced during the research p. 137 Websites p. 141 4 Abstract In this commentary I will discuss the technical implementation of sound spatialisation in EDM (electronic dance music) performance practice and outline my compositional approaches involving these techniques. The use of space as a musical parameter in EDM is becoming more common as the accessibility of the technology increases. The technical means of performance and the sonic material combine to create a unique musical aesthetic and listening experience in EDM culture. An historical overview of compositions using spatial considerations as a main musical parameter will situate my work within this artistic practice. Different implementations and propositions of sound spatialisation, as well as the principal locations dedicated to this form of activity will be discussed to contextualise my work. A fundamental part of my research concerns the use of spatialisation tools and techniques to enhance EDM through an immersive sound experience. Concepts and notions of musical ‘flow’ and live improvisation have shaped this research and the compositional and performance aesthetics that have come to underpin my creative practice. Furthermore, the idea of immersivity and the sublime have informed my compositional thinking, and this will be assessed in relation to my objective to create an enhanced listening experience in my live performances. A discussion of the blurred roles of composer/producer/performer will demonstrate how I consider my live performance practice to redefine what a composer of EDM can be. Thus, I consider this research to propose a viable model for modern EDM composers. 5 Copyright Statement The following notes on copyright and the ownership of intellectual property rights must be included as written below: i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 6 Dedication I want to dedicate this thesis to my parents: I am eternally grateful to my father, Réal Lavoie, who insufflated a deep love and passion for music during my childhood. I am forever in debt to my mother, Victoire Bourgeault, for inspiring and teaching me how to dance to music – she said, “just listen with your heart and the music will guide you”. 7 Acknowledgments This research project was an academic marathon which with time became more intense but also more rewarding as the development occurred and as I gained valuable insights. It would, perhaps, never have evolved beyond being on its way, and surely would not have crystallized in its present form had it not been for Professor Monty Adkins. He helped me with the overall supervision of my research project and directed it into its proper course. He would read my drafts within days after submission, taught me the ins and outs of his musical thought, and generously shared his opinion. He liked to stimulate ideas that found their way into the text, constantly encouraged me to formulate my own musical position, and generally directed me beyond my limited scope. I am indebted to him for the faith he had in me and also for making this thesis a reality. Thus, the gratitude that I have for him is immense and I hope these few words honor his work. Several individuals from the University of Huddersfield were essential in the accomplishment of this PhD, thus I would like to thank them as well: Dr. Hyunkook Lee who’s research, equipment and facilities were instrumental throughout my experimentations. Professor Pierre-Alexandre Tremblay with his constant questioning and critical observations generated some valuable insights for this research. Dr. Alex Harker for his colossal technical and practical knowledge of music helped me gain relevant skills during the progression of this thesis. Professor Rupert Till for his profound and acute erudition of the music scene provided an apt guidance for a greater musical understanding. Oliver Larkin for his common interest about spatialisation enabled some creative thinking regarding this project. Special mention to Dr. Nicolas Bougaïeff for believing in me and teaching me useful performing skills. Other staff members such as Mr. Stewart Worthy, Professor Aaron Cassidy, Mr. Frank Peters, Dr. Julio d’Escrivan, Dr. Mark Bokowiec and the students from the Tech Store provided continuous support and necessary help in order to make this project a successful one. And a final praise to Dr. Pat Hill and Mr. Richard Piatak who ensured that my ideas were expressed clearly and logically and formed a coherent and meaningful whole. 8 List of works submitted Rocket Verstappen (2016 – Stereo – 8 minutes) (2017 – Binaural – 12 minutes) So It Goes (2017 – Stereo & Binaural – 49 minutes) Cyborg Talk (2017 – Stereo & Binaural – 14 minutes) Not The Last One (2017 – Stereo & Binaural – 9 minutes) Chilli & Lime (2017 – Stereo & Binaural – 17 minutes) Stix (2017 – Stereo & Binaural – 13 minutes) Groove Society (2019 – Stereo & Binaural – 25 minutes) Websites www.SebastianDeWay.com YouTube channel: https://www.youtube.com/c/SebastianDeWay 9 10 Introduction When I compose music using spatialisation techniques, I am aiming to create a sense of immersion and movement. I am enthralled by the ability and possibility to move sound in space and I consider it an important feature of music. For me, it enhances the listening experience, and this is achieved through localization, diffusion, height and trajectories of sounds. The implementation of spatial counterpoint in my compositions utilises parallel and contrary spatial motion. This use of spatial counterpoint inherently implies a set of compositional considerations for approaching a new work. My music is different to more typical EDM since we can hear sound trajectories, changeable rates of speed in sonic movement, localization and a height dimension in the sound. I have arrived at a heuristic meaning and common sense sets of rules for spatialisation.
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