Spatial Sound Performances in Classical Music

Abstract

Spatial is related to multi-dimensionality in nature. Spatial sound is perceived in three dimensions in relationship with the source location. Thus, spatial sound perception provides the location of sound source. In other words, this capability of localizing sound in space is often referred to as spatial sound. In music technology, spatial sound, which is introduced to the listener through various techniques such as mono, stereo, quadro, ambio, surround etc., is in the domain of spatial audio studies. Hundreds of years ago, when there was no concept of music technology yet, spatial sound was practiced by a number of classical music composers. Giovanni Gabrieli, in the 16th century, splits the choir in two groups named "cori spezzati" similar to the stereo technique. The Baroque period composer Vivaldi’s “per eco in lontano” can be regarded as the first spatial sound performance with echo technique on a concert hall. In the history of classical music, Classical period composers Haydn and Mozart, Romantic period composers Berlioz and Mahler, and 20th century composers Ives and Stockhausen have composed some pieces which can also be considered as spatial sound performances. In this study, the relationship between classical music composers above and their performances connected with spatial sound will be discussed, examining the original parts of their music and establishing a connection with between their performances and dimensionality. The result of this study points out that some classical music composers can consciously raise awareness in the audience by presenting spatial sounds in their music.