From Perception research to the aesthetics of experience: construction of auditive space by means of music and its technology

从感知研究到体验美学：音乐及其技术构建听觉空间

• 批准号: 310514718
• 负责人: Privatdozentin Dr. Martha Brech
• 金额: --
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2019-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/310514718?language=en
• 关键词: Perception; research; aesthetics; experience; construction

Auditive space has many facets and in most cases its presentation is linked to the individual position of a listener. Since the early 1920ies it can be produced and designed by technical means. Until the end o the analogue era (aprox. mid 1980ies) many different electroacoustic devices, production and simulation techniques were developed for the use of composers and audio artists. Their use in spatial audio works is orientated on the works spatial concept witch is determined by the technology at the same time. All in all, a huge number of different auditive space presentations and spatial constructions exist and in different ways, too, they take the individual listeners views into consideration. The aim of the research project is to explore the history of auditive spatial constructions produced with electroacoustic means, to classify them and to trace the aesthetic consequences of this development. Therefore, a number of analogue electroacoustic spatial compositions and audio works will be analyzed in regards to the artistic spatial concept, the display of the auditive space and the use of special technical devices and production modes on basis of scores, sketches, interviews, sound and video recordings etc. The selection of the works to be analysed considers the use of spatial devices and production modes documented in the first phase of the research project, the use of commercial devices, the different listeners perspectives and the time of their origin. In a last step, the relation of the selected works to the aesthetics of experience and perception will be regarded.

听觉空间有很多方面，在大多数情况下，其呈现与听众的个人位置相关。自20世纪20年代初期起，它就可以通过技术手段生产和设计。直到模拟时代末期（大约 1980 年代中期），许多不同的电声设备、制作和模拟技术被开发出来供作曲家和音频艺术家使用。它们在空间音频作品中的运用是面向作品空间概念的，同时又是由技术决定的。总而言之，存在大量不同的听觉空间呈现和空间构造，并且它们也以不同的方式考虑了听众的个人观点。该研究项目的目的是探索用电声手段产生的听觉空间结构的历史，对它们进行分类并追踪这种发展的美学后果。因此，本文将根据乐谱、素描、访谈、声音和声音等，对一些模拟电声空间作品和音频作品的艺术空间观念、听觉空间的呈现、特殊技术设备和制作方式的使用进行分析。待分析作品的选择考虑了研究项目第一阶段记录的空间装置和制作模式的使用、商业装置的使用、不同听众的视角及其起源时间。最后一步，将考虑所选作品与经验和感知美学的关系。