ID#: 464

Tempospazio (2025) ; 8:30

by Pier Samuele Pratesi

Conservatory Agostino Steffani, Castelfranco Veneto, Italy

Tempospazio (2023-2025)
Acousmatic Stereo Composition with Visuals. Tempospazio is an acousmatic stereo composition, created in 2023, that explores the intersection of sound, space, and perception. The work combines audio and visuals within a framework of stochastic spatialization, allowing the audience to experience a constantly shifting soundscape that challenges traditional listening conventions.
At the heart of Tempospazio is a novel approach to spatializing sound. Through a Max patch developed in collaboration with my composition professor Andreas Weixler, I was able to spatialize any standard stereo audio signal into a 20.4 speaker setup—a system designed for the Sonic Lab at the Anton Bruckner Privatuniversität in Linz, Austria. This setup consists of 20 speakers and 4 subwoofers, forming a three-dimensional auditory environment. The challenge of managing such a large system has been addressed through the Max patch, which simplifies spatialization control using just a few sliders and knobs, allowing for intuitive manipulation of sound in both horizontal and vertical axes. The innovative aspect of this piece lies in the frequency band division method I employed. Using the fffb~ Max object, the audio signal is divided into 20 frequency bands—each corresponding to a loudspeaker. These frequency bands are then routed randomly across the loudspeakers, with the routing changing every 3000 milliseconds (though the timing can be adjusted). This technique results in a continuous evolution of sound, where the spatial distribution of frequencies is never static, but always shifting and transforming. The result is a perceptual effect where the sound moves beyond the constraints of traditional stereo, becoming a dynamic, three-dimensional experience. As the bands move between speakers, the listener is immersed in a constantly changing sonic landscape. To preserve the full spectrum of sound, the lowest and highest frequencies are routed back to the lowest and highest speakers, ensuring that no frequency components are lost during the randomization process. The piece is designed to be performed live, with each iteration of the work being unique. While the audio-visual material remains fixed, the spatialization and movement of sound through the patch make each performance different, allowing for improvisation and real-time interaction. This combination of pre-composed media and live spatial manipulation results in a piece that is both a work of fixed media and a dynamic, ever-evolving performance. Tempospazio challenges the conventional understanding of stereo sound by introducing stochastic elements that allow for the creation of unpredictable auditory spaces. It invites listeners to experience sound in new and unfamiliar ways, breaking down the boundaries between fixed composition and live performance, and encouraging a deeper engagement with the sonic and spatial dimensions of music.