Gaps in the Void
(2021)
Christian Konrad Schröder
Multichannel Composition for 4DSOUND System, ~ 35 min, 2021
Conceived and performed with the Open Source software Purr Data using Karplus-Strong algorithms.
The title "gaps in the void" is taken from an unreleased album made in 2018 after a two months residency in Varanasi, India. The album deals with the concept of "resolution/dissolution/dissolving" and refers to the dense soundscape of the city.
During my time at SSI, I composed a new piece based on the concept of absolute or pure accumulation leading to a peak in stimulation/overstimulation before sound dissolves.
Sparse rhythms become a thick texture of sound when they are treated as events in a recurring timeline. With each pass through, one element of sound is added to the accumulation. The figure that the sound projects into space is a circle, or more precisely, an approximation of a circle using the infinite polygons principle to calculate π.
The main questions of this composition deal with the blurred perception of extremes in listening. At which speed does a rhythm become a sound? What is the rate of traceable events in space? When does the sound leave the radiation of the speaker and travels within the listener? Is the organization of sound connected to its position in the space? And how does the volume affect these questions?
Conceived and performed with the Open Source software Purr Data using Karplus-Strong algorithms.
The title "gaps in the void" is taken from an unreleased album made in 2018 after a two months residency in Varanasi, India. The album deals with the concept of "resolution/dissolution/dissolving" and refers to the dense soundscape of the city.
During my time at SSI, I composed a new piece based on the concept of absolute or pure accumulation leading to a peak in stimulation/overstimulation before sound dissolves.
Sparse rhythms become a thick texture of sound when they are treated as events in a recurring timeline. With each pass through, one element of sound is added to the accumulation. The figure that the sound projects into space is a circle, or more precisely, an approximation of a circle using the infinite polygons principle to calculate π.
The main questions of this composition deal with the blurred perception of extremes in listening. At which speed does a rhythm become a sound? What is the rate of traceable events in space? When does the sound leave the radiation of the speaker and travels within the listener? Is the organization of sound connected to its position in the space? And how does the volume affect these questions?
