THis is of course exactly what I said! That surround is good
for ambience. That was my whole point in fact--that
if ambience is what you want and of course for concert
music it is what you want, then Ambisonics with its
emphasis on homogeneity is going to a lot of trouble
for something that can be done more simply.
I am pretty sure everyone understands that an anechoic
orchestra sounds odd indeed!
The question is how to get ambience effectively in practical
terms.
Robert
On Mon, 2 Apr 2012, Josh Parmenter wrote:
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
/*********************************************************************/
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/* 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
*/
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