<p><strong>PORTFOLIO OF ORIGINAL COMPOSITIONS </strong></p><p>A thesis submitted to the University of Manchester for the degree of <br>Doctor of Philosophy in the Faculty of Humanities </p><p><strong>2020 </strong></p><p><strong>GUILLAUME DUJAT DES ALLIMES </strong><br><strong>School of Arts, Languages and Cultures </strong></p><p><strong>Table of Contents </strong></p><p><a href="#5_0">List of Figures......................................................................................................................................5 </a><a href="#6_0">List of Table</a><a href="#6_0">s</a><a href="#6_0">.</a><a href="#6_0">......................................................................................................................................6 </a><a href="#7_0">Abstract ...............................................................................................................................................7 </a><a href="#8_0">Declaration ..........................................................................................................................................8 </a><a href="#8_1">Copyright statemen</a><a href="#8_1">t</a><a href="#8_1">.</a><a href="#8_1">...........................................................................................................................8 </a><a href="#9_0">Portfolio of musical works ...................................................................................................................9 </a><a href="#9_1">Musical appendix ................................................................................................................................9 </a><a href="#10_0">Folder content ...................................................................................................................................10 </a><br><a href="#10_1">File layout.....................................................................................................................................10 </a><br><a href="#12_0">Acknowledgement</a><a href="#12_0">s</a><a href="#12_0">.</a><a href="#12_0">..........................................................................................................................12 </a><a href="#13_0">About the author................................................................................................................................13 </a><a href="#14_0">1. Introduction ...................................................................................................................................14 </a><br><a href="#14_1">1.1 Portfolio contents ...................................................................................................................14 </a><a href="#14_2">1.2 Research inquiry ....................................................................................................................14 </a><a href="#15_0">1.3 Context...................................................................................................................................15 </a><a href="#16_0">1.4 Space and Plac</a><a href="#16_0">e</a><a href="#16_0">.</a><a href="#16_0">...................................................................................................................16 </a><a href="#17_0">1.5 Chapter outline.......................................................................................................................17 </a><br><a href="#18_0"><em>2. Gōngàn </em></a><a href="#18_0">(2017, 10:56) [8 channel] ................................................................................................18 </a><br><a href="#19_0">2.1 Wat Khao No</a><a href="#19_0">i</a><a href="#19_0">.</a><a href="#19_0">........................................................................................................................19 </a><a href="#20_0">2.2 Salies de Béarn orchard (Pyr-at France</a><a href="#20_0">)</a><a href="#20_0">.</a><a href="#20_0">..............................................................................20 </a><a href="#0_0">2.3 Tram line (Manchester, UK)...................................................................................................21 </a><a href="#0_1">2.4 Computerspiele Museum (Berlin, Germany) .........................................................................21 </a><br><a href="#0_2">3. Après moi la pluie (2017, 9:33) [1</a><sup style="top: -0.25em;">st </sup>order ambisonics]..................................................................23 <br><a href="#0_2">3.1 Section A................................................................................................................................26 </a><a href="#0_3">3.2 Section B................................................................................................................................26 </a><a href="#0_2">3.3 Section C................................................................................................................................27 </a><a href="#0_4">3.4 Hordijk modular system (control) ...........................................................................................27 </a><a href="#0_5">3.5 Spatial distortion ....................................................................................................................28 </a><br><a href="#0_2">4. Noisy Library (2018, 01:00:26) [7.1 channel</a><a href="#0_2">]</a><a href="#0_2">.</a><a href="#0_2">...............................................................................30 </a><br><a href="#0_2">4.1 Loudspeaker arrangement.....................................................................................................32 </a><a href="#0_2">4.2 Recording</a><a href="#0_2">s</a><a href="#0_2">.</a><a href="#0_2">............................................................................................................................33 </a><a href="#0_6">4.3 Room acoustics simulation. ...................................................................................................34 </a><a href="#0_7">4.4 Structure.................................................................................................................................35 </a><a href="#0_2">4.5 Composition ...........................................................................................................................36 </a><br><a href="#0_2">5. Divine Cut</a><a href="#0_2">&nbsp;</a><a href="#0_2">(2018, 11:19) [6 channel / binaural] ...........................................................................39 </a><br><a href="#0_8">5.1 Performance...........................................................................................................................41 </a><a href="#0_2">5.3 Illusion of liveness and the audio-visual contract. .................................................................43 </a><br><a href="#0_2">6. Tune of Crackle (2019, 20:58) [3</a><sup style="top: -0.25em;">rd </sup>order ambisonics]...................................................................44 <br><a href="#0_9">6.2 Locations and recording.........................................................................................................45 </a><br><a href="#0_10">6.2.1 Southbank Undercroft [ca. 6:44 </a><a href="#0_10">– </a><a href="#0_10">14:20</a><a href="#0_10">]</a><a href="#0_10">.</a><a href="#0_10">......................................................................46 </a><a href="#0_11">6.2.2 GrayStone Action Sports [ca. 0:00 </a><a href="#0_11">– </a><a href="#0_11">6:44] ....................................................................47 </a></p><p>2<br><a href="#0_12">6.2.3 Street [ca. 11:16 </a><a href="#0_12">– </a><a href="#0_12">20:44] ..............................................................................................49 </a><br><a href="#0_13">6.3 Compositional approaches ....................................................................................................50 </a><a href="#0_14">6.4 Mediated perspective</a><a href="#0_14">s</a><a href="#0_14">.</a><a href="#0_14">..........................................................................................................51 </a><br><a href="#0_2">7. Resonating Spaces (2019) [multiformat].......................................................................................53 </a><br><a href="#0_15">7.1 Bottle Kiln (1:00:00)</a><a href="#0_15">&nbsp;</a><a href="#0_15">[5.1 channel].........................................................................................54 </a><a href="#0_2">7.2 Clay rehydratio</a><a href="#0_2">n</a><a href="#0_2">.</a><a href="#0_2">....................................................................................................................55 </a><a href="#0_2">7.3 Presentatio</a><a href="#0_2">n</a><a href="#0_2">.</a><a href="#0_2">..........................................................................................................................57 </a><a href="#0_2">7.4 </a><a href="#0_2"><em>Green State: Rehydrate </em></a><a href="#0_2">(11:06) [5.1 channel].......................................................................58 </a><a href="#0_16">7.5 Sound sources .......................................................................................................................58 </a><a href="#0_17">7.6 Structure.................................................................................................................................59 </a><br><a href="#0_2">8. Conclusion ....................................................................................................................................61 </a><br><a href="#0_18">8.1 Methodologies........................................................................................................................61 </a><a href="#0_19">8.2 Abstraction .............................................................................................................................61 </a><a href="#0_20">8.3 Reductio</a><a href="#0_20">n</a><a href="#0_20">.</a><a href="#0_20">..............................................................................................................................61 </a><a href="#0_21">8.4 Microphone colouration..........................................................................................................62 </a><a href="#0_22">8.5 Speaker colouratio</a><a href="#0_22">n</a><a href="#0_22">.</a><a href="#0_22">..............................................................................................................62 </a><a href="#0_10">8.6 Presentation mod</a><a href="#0_10">e</a><a href="#0_10">.</a><a href="#0_10">................................................................................................................63 </a><a href="#0_23">8.7 Space and Plac</a><a href="#0_23">e</a><a href="#0_23">.</a><a href="#0_23">...................................................................................................................63 </a><a href="#0_2">8.8 Composition-boun</a><a href="#0_2">d</a><a href="#0_2">.</a><a href="#0_2">...............................................................................................................65 </a><a href="#0_24">8.9 Continuation &amp; future works...................................................................................................65 </a><br><a href="#0_2">9 Bibliography (APA 7</a><sup style="top: -0.25em;">th </sup>edition GB<a href="#0_2">)</a><a href="#0_2">.</a><a href="#0_2">.................................................................................................66 </a><a href="#0_2">10 Appendices ..................................................................................................................................71 </a><br><a href="#0_25">10.1 Multimodal relevanc</a><a href="#0_25">e</a><a href="#0_25">.</a><a href="#0_25">..........................................................................................................71 </a><a href="#0_2">10.2 Gōngàn spatialization techniques</a><a href="#0_2">.</a><a href="#0_2">.......................................................................................72 </a><br><a href="#0_2">10.2.1 Gōngàn section A </a><a href="#0_2">........................................................................................................73 </a><a href="#0_2">10.2.2 Gōn</a><a href="#0_2">gàn section B ........................................................................................................76 </a><a href="#0_2">10.2.3 Gōngàn section C </a><a href="#0_2">........................................................................................................77 </a><a href="#0_26">10.2.4 Gōngàn section D </a><a href="#0_26">........................................................................................................77 </a><br><a href="#0_2">10.3 Noisy Library additional information.....................................................................................78 </a><br><a href="#0_27">10.3.1 Noisy Library Virtual representation ............................................................................78 </a><a href="#0_2">10.3.2 Noisy Library Visitor Engagement ...............................................................................79 </a><br><a href="#0_2">10.4 Divine Cut </a><a href="#0_2">– </a><a href="#0_2">Performance Materia</a><a href="#0_2">l</a><a href="#0_2">.</a><a href="#0_2">.....................................................................................80 </a><br><a href="#0_28">10.4.1 Divine Cut Performance Instructions ...........................................................................80 </a><a href="#0_29">10.4.2 Divine Cut Scor</a><a href="#0_29">e</a><a href="#0_29">.</a><a href="#0_29">.........................................................................................................81 </a><a href="#0_2">10.4.3 Divine Cut Tech Rider..................................................................................................84 </a><br><a href="#0_2">10.5 Divine Cut Instrumentation...................................................................................................86 </a><br><a href="#0_28">10.5.1 Fixed ............................................................................................................................86 </a><a href="#0_30">10.5.2 Live Instrumentation ....................................................................................................87 </a><br><a href="#0_2">10.6 Tune of Crackle - Interviews ................................................................................................90 </a><a href="#0_2">10.7 VX1000 (Tune of Crackle) ...................................................................................................91 </a><a href="#0_2">10.8 Green State : Rehydrate - Performance [13.1 channel] ......................................................93 </a><a href="#0_2">10.9 Ceramic Loudspeaker slabs - Lean-To................................................................................94 </a><br><a href="#0_31">10.9.1 Approach......................................................................................................................94 </a></p><p>3<br><a href="#0_4">10.9.2 Speaker buil</a><a href="#0_4">d</a><a href="#0_4">.</a><a href="#0_4">..............................................................................................................95 </a><a href="#0_32">10.9.3 Resonant Frequencies.................................................................................................96 </a><a href="#0_2">10.9.4 Physical layout and spatial approach ..........................................................................98 </a><a href="#0_33">10.9.5 Composition &amp; Structur</a><a href="#0_33">e</a><a href="#0_33">.</a><a href="#0_33">.............................................................................................99 </a><br><a href="#0_34">10.10 Wharf................................................................................................................................101 </a><a href="#0_2">10.11 Portfolio program notes....................................................................................................102 </a><br><a href="#0_28">10.11.1 Gōngàn </a><a href="#0_28">....................................................................................................................102 </a><a href="#0_35">10.11.2 Après Moi La plu</a><a href="#0_35">e</a><a href="#0_35">.</a><a href="#0_35">...................................................................................................102 </a><a href="#0_36">10.11.3 Noisy Librar</a><a href="#0_36">y</a><a href="#0_36">.</a><a href="#0_36">...........................................................................................................102 </a><a href="#0_2">10.11.4 Divine Cut ................................................................................................................103 </a><a href="#0_37">10.11.5 Tune of Crackle........................................................................................................103 </a><a href="#0_38">10.11.6 Green State: Rehydrat</a><a href="#0_38">e</a><a href="#0_38">.</a><a href="#0_38">..........................................................................................103 </a><br><a href="#0_2">10.12 List of performances..............................................................................................................104 </a></p><p><strong>Word Count: 17,821 </strong></p><p>4</p><p><strong>List of Figures </strong></p><p><a href="#13_1">Figure 1: MANTIS 2019 calibration [photo by Alexander Maschke]. ................................................13 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601442" target="_blank">Figure 2: Salies de Béarn orchard [photo by Nadine Oliver]. ...........................................................20 </a><a href="#0_39">Figure 3: Ambisonic recording in the Manchester Victoria baths females pool</a><a href="#0_39">.</a><a href="#0_39">.</a><a href="#0_39">..............................23 </a><a href="#0_40">Figure 4: FOA to Hordijk signal chain ...............................................................................................29 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601445" target="_blank">Figure 5: Light Bulb with bayonnet fitting photographed from above on a white background. </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601445" target="_blank">Science Museum Group Collection. CC licence. ..............................................................................30 </a></p><p><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601446" target="_blank">Figure 6: Edison Swan Electric Co Ltd half blacked light bulb. Photographed from above on a white </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601446" target="_blank">background. Science Museum Group Collection. CC licence. .........................................................30 </a></p><p><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601447" target="_blank">Figure 7: John Rylands Reading Room floor &amp; and loudspeaker plan</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601447" target="_blank">.</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601447" target="_blank">.</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601447" target="_blank">...........................................31 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601448" target="_blank">Figure 8: John Rylands Library reading room - balcony speakers (Noisy Library)...........................32 </a><a href="#0_41">Figure 9: Studio monitoring signal chain for Noisy Library. ..............................................................35 </a><a href="#0_42">Figure 10: Divine Cut - still image from video. ..................................................................................39 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601451" target="_blank">Figure 11: Studio Haircut - Polski Fritzer. .........................................................................................40 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601452" target="_blank">Figure 12: Divine Cut - 6 channel live configuration. ........................................................................42 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601453" target="_blank">Figure 13: Southbank undercroft ambisonic recording [photo by Nadine Oliver]. ............................46 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601454" target="_blank">Figure 15: Graystone Action Sports coping recording (Figure 16 position 1)</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601454" target="_blank">.</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601454" target="_blank">.</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601454" target="_blank">.................................47 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601455" target="_blank">Figure 14: Graystone Action Sports launch ramp recording (Figure 16 position 4)..........................47 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601456" target="_blank">Figure 16: Graystone Action Sports floor to microphone placement plan. .......................................49 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601457" target="_blank">Figure 17: Bottle Kiln inner chamber view [photo by Jenny Harper].................................................54 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601458" target="_blank">Figure 18: Bottle Kiln vessel interactio</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601458" target="_blank">n</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601458" target="_blank">.</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601458" target="_blank">...........................................................................................54 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601459" target="_blank">Figure 19: Bottle Kiln - dissolvable sonic process. ...........................................................................56 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601460" target="_blank">Figure 20: Bottle Kiln dissolvables ....................................................................................................57 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601461" target="_blank">Figure 21: Bottle Kiln vessel..............................................................................................................57 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601462" target="_blank">Figure 22: GreenState: Rehydrate - Spectrogram and Structure. ....................................................60 </a><a href="#0_43">Figure 23: place/space work weighting</a><a href="#0_43">.</a><a href="#0_43">.</a><a href="#0_43">...........................................................................................64 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601464" target="_blank">Figure 24: Gradually processed stereo pairs</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601464" target="_blank">.</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601464" target="_blank">.</a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601464" target="_blank">..................................................................................73 </a><a href="#0_44">Figure 25: Quadrophonic diamond from stereo recordings. .............................................................73 </a><a href="#0_45">Figure 26: Four-channel mirror. ........................................................................................................74 </a><a href="#0_46">Figure 27: Double quadrophonic off-axis arrangement. ...................................................................75 </a><a href="#0_47">Figure 28: Three channel parabola setup</a><a href="#0_47">.</a><a href="#0_47">.</a><a href="#0_47">.......................................................................................76 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601469" target="_blank">Figure 29: Four channel tram recording to speaker arrangement. ...................................................77 </a><a href="#0_48">Figure 30: John Rylands reading room LIDAR scan render</a><a href="#0_48">.</a><a href="#0_48">.</a><a href="#0_48">...........................................................78 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601471" target="_blank">Figure 31: VX1000 camera microphone spectrogram. .....................................................................92 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601472" target="_blank">Figure 32: Rode NTG-5 microphone spectrogram. ..........................................................................92 </a><a href="#0_3">Figure 33: Green State : Rehydrate soundcheck at MANTIS19 [photo by: Alexander Maschke]. ...93 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601474" target="_blank">Figure 34: Initial design of ceramic loudspeakers proposed to the group. .......................................94 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601475" target="_blank">Figure 35: Ceramic slab tech routing &amp; order. ..................................................................................96 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601476" target="_blank">Figure 36: Original sketch of panel arrangement..............................................................................98 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601477" target="_blank">Figure 37: Final arrangement of slabs in space................................................................................99 </a><a href="file://///duNAS/GuillaumeDujat_PHD_Files/Corrections%20Edits/CorrectionsVertions/Guillaume_PhDwritup_Corrections3.0.docx%23_Toc68601478" target="_blank">Figure 38: VCV-rack, slabs chord patch. ........................................................................................100 </a></p>