Practice by Practice
The two previous chapters gave a general method: think the sound space as compositional material, then choose a diffusion logic for the audience. But the answers that method produces are not the same everywhere. An acousmatic composer diffusing a fixed work over an orchestra of loudspeakers, a live electronic artist facing a standing crowd, a composer spatialising around visible musicians, and a sound designer building a fictional place for a play are solving genuinely different problems with the same underlying ideas.
These four chapters take the frameworks into each domain. They mirror, on the artistic side, what the Workflows part does on the technical side — one self-contained chapter per practice.
Chapters
- Electroacoustic & Acousmatic Music — the fixed-support tradition, the diffusion performance, and composing space into the work from the studio outward.
- Electronic & Live Music — a standing, mobile audience, the tension between immersive art and the dancefloor's function, and immersive venues in practice.
- Stage & Live Performance — spatialising around visible performers, audio-visual coherence, and the real difficulty of tracking a moving performer.
- Theatre & Sound Dramaturgy — sound in service of text and action, the off-stage acoustic field, and reverberation as the construction of a fictional place.