The orchestra may not be around the audience, but the ambience around the audience counts for quite a bit. If we heard a flat, frontal only image in concert, I would guess that even people without any surround sound exposure would find this acceptable. Just because a body isn't behind you, it doesn't mean there isn't sound coming from behind you. Best, Josh
On Apr 2, 2012, at 8:34 AM, Robert Greene wrote: > > It may be old but it is still all but universal > in acoustic concert music. > I think it is disingenuous to say that it is not. > How many symphony concerts have you been to > recently where the orchestra surrounded the audience. > The other way around, sure. > But I think this is just not true, that music > with the musicians around the audience is common. > Not in the statistical sense of percentage of > concerts where it happens. > Robert > > On Mon, 2 Apr 2012, Dave Malham wrote: > >> Right on - as I've said before, frontal music is largely a development of >> 16th century Western civilisation and is not universal, even now. >> >> By the way, be careful about the Gabrielli's in St. Marks - there is at >> least some evidence that separate choirs singing antiphonally were _not >> _used at St Mark's (see Bryant, D. "The Cori Spezzati of St. Mark's: Myth >> and Reality" in Early Music History, Cambridge 1981, p169). >> >> Dave >> >> >> On 01/04/2012 10:20, Paul Hodges wrote: >>> --On 31 March 2012 18:34 -0700 Robert Greene <gre...@math.ucla.edu> wrote: >>>> Of course music exists that is not in front. But the vast bulk of >>>> concert music is not like that. >>> Sure; but what proportion of music are we happy to be unable to reproduce >>> properly? My organ music (admittedly as much as 20% of my listening) was a >>> trivial example - and it's only in combination with other things that it >>> becomes spatially interesting, generally. You mentioned Gabrieli and >>> Berlioz in a slightly dismissive manner; I would add to them people like >>> Stockhausen and Earle Brown, a folk group moving among their audience, a >>> hall full of schoolchildren bouncing their sounds off each other from >>> different parts of the hall. Not all within the restricted form of >>> "concert music", but music in the real world where we turn our heads and >>> enjoy our whole environment. >>> Paul >> >> -- >> These are my own views and may or may not be shared by my employer >> /*********************************************************************/ >> /* Dave Malham http://music.york.ac.uk/staff/research/dave-malham/ */ >> /* Music Research Centre */ >> /* Department of Music "http://music.york.ac.uk/"; */ >> /* The University of York Phone 01904 322448 */ >> /* Heslington Fax 01904 322450 */ >> /* York YO10 5DD */ >> /* UK 'Ambisonics - Component Imaging for Audio' */ >> /* "http://www.york.ac.uk/inst/mustech/3d_audio/"; */ >> /*********************************************************************/ >> >> -------------- next part -------------- >> An HTML attachment was scrubbed... >> URL: >> <https://mail.music.vt.edu/mailman/private/sursound/attachments/20120402/49f083b7/attachment.html> >> _______________________________________________ >> Sursound mailing list >> Sursound@music.vt.edu >> https://mail.music.vt.edu/mailman/listinfo/sursound >> > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound ****************************************** /* Joshua D. Parmenter http://www.realizedsound.net/josh/ “Every composer – at all times and in all cases – gives his own interpretation of how modern society is structured: whether actively or passively, consciously or unconsciously, he makes choices in this regard. He may be conservative or he may subject himself to continual renewal; or he may strive for a revolutionary, historical or social palingenesis." - Luigi Nono */ _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
