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Playing the Ear: Non-Linearities of the Inner Ear and Their Creative Potential

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Playing the Ear: Non-Linearities of the Inner Ear and Their Creative Potential Playing the Ear: Non-Linearities of the Inner Ear and their Creative Potential Brian Connolly; BMus, MA Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Department of Music Faculty of Arts, Celtic Studies & Philosophy Maynooth University October 2016 Head of Department: Professor Christopher Morris Supervisor: Dr Gordon Delap Playing the Ear: Non-Linearities of the Inner Ear and their Creative Potential Acknowledgments .......................................................................................................................... i Glossary of Terms ......................................................................................................................... ii Abstract ........................................................................................................................................ vi Declaration ................................................................................................................................. viii 1 Introduction ............................................................................................................................... 1 1.1 Background to the Work ................................................................................................ 1 1.2 Overview of Existing Work in the Field ......................................................................... 2 1.2.1 Introduction ................................................................................................................ 2 1.2.2 Bandwidth Phenomena ............................................................................................... 3 1.2.3 Localisation phenomena ............................................................................................. 6 1.2.4 Shepard-Risset Glissando ........................................................................................... 9 1.2.5 Otoacoustic Emissions .............................................................................................. 10 1.2.6 Conclusion ................................................................................................................ 14 1.3 Electroacoustic Music: The Ideal Platform? ................................................................. 15 2 Non-Linear Inner Ear Phenomena .......................................................................................... 18 2.1 Non-Linear Hearing Phenomena .................................................................................. 18 2.1.1 Introduction .............................................................................................................. 18 2.1.2 The Inner Ear ............................................................................................................ 21 2.1.2.1 Introduction ................................................................................................ 21 2.1.2.2 Physiology and Functionality ...................................................................... 21 2.2 Bandwidth Phenomena ................................................................................................ 24 2.2.1 Critical Bandwidth and Spectral Masking ................................................................. 24 2.2.2 Monaural Beating ..................................................................................................... 28 2.2.3 Binaural Beating ....................................................................................................... 30 2.3 Auditory Distortion Products ....................................................................................... 37 2.3.1 Introduction .............................................................................................................. 37 2.3.2 Aural Harmonics ....................................................................................................... 38 2.3.3 Otoacoustic Emissions .............................................................................................. 40 2.3.3.1 Distortion Product Otoacoustic Emissions .................................................. 40 2.3.3.2 Transient Evoked Otoacoustic Emissions .................................................... 43 2.3.4 Residue pitch ............................................................................................................ 45 3 The Inner Ear as a Musical Instrument .................................................................................. 49 3.1 Introduction ................................................................................................................. 49 3.2 Universal Limitations on Compositions ....................................................................... 49 3.3 Exclusivity of the Methodology ................................................................................... 53 3.4 Performance Considerations ........................................................................................ 54 3.5 Compositional Challenges ........................................................................................... 57 3.6 Using the Ear to Play the Ear ....................................................................................... 59 4 Commentaries on Portfolio of Work ....................................................................................... 65 4.1 Critical Bands .............................................................................................................. 65 4.2 Invisibilia .................................................................................................................... 69 4.3 Occultum Tabulatum.................................................................................................... 75 4.4 Oscima ........................................................................................................................ 80 4.5 Transcape .................................................................................................................... 83 4.6 Maeple ........................................................................................................................ 91 4.7 Ear Walk ...................................................................................................................... 95 4.8 Waves ........................................................................................................................ 102 4.9 Chase ......................................................................................................................... 108 4.10 Swarm ...................................................................................................................... 111 5 Conclusions ............................................................................................................................. 116 5.1 Introduction ................................................................................................................ 116 5.2 The Evolution of the Research Process ....................................................................... 117 5.3 Influence of the Performance Process ......................................................................... 118 5.4 Turning Point in the Direction of my Work's Presentation .......................................... 127 5.4 Conclusion ................................................................................................................ 135 Bibliography.............................................................................................................................. 136 Books, Theses and Journals ............................................................................................. 136 Selected Discography ...................................................................................................... 143 Audio Demonstrations .............................................................................................................. 144 Additional Notes ....................................................................................................................... 148 Scores Acknowledgments Over the past four years I have gone on the most incredible journey, pursuing an area of research and creativity that I hold very close to my heart. I can safely say that I would not be in the position that I am in today without the support of my wonderful family and friends. These last number of years have been a wonderful struggle that you have seen me through, during which my character has grown considerably. Firstly, I would like to offer particular thanks to Dr Gordon Delap for his continued support throughout my studies, which dates back to my earliest enquiries regarding postgraduate study while still completing my undergraduate degree. To my parents and siblings, thank you for your constant love and for your confidence in me throughout my studies and career. A particular thanks is given here to Paul and Caroline for their tireless efforts throughout my education and to my mother Lynn for her love and never-ending belief in me. To my colleagues and the students of the Maynooth University Music Department, thank you for your good will and support since I first arrived in 2008. I will always be proud to be a part of this department. To Maegan, without you the hard times would have been impossible and the good times would have been nothing compared to what they have been. From the bottom of my heart I cannot thank you enough for not only being there for me, but for your incredible patience,
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