| Title | 13. Spatial Movement of Sound Vectors |
|---|---|
| Contributor | Ambrosio Salvador Rodríguez Lara (author) |
| DOI | https://doi.org/10.11647/obp.0390.15 |
| Landing page | https://www.openbookpublishers.com/books/10.11647/obp.0390/chapters/10.11647/obp.0390.15 |
| License | https://creativecommons.org/licenses/by-nc/4.0/ |
| Copyright | Ambrosio Salvador Rodríguez Lara |
| Publisher | Open Book Publishers |
| Published on | 2024-10-09 |
| Long abstract | In this chapter, I discuss the concept and definition of a sound vector in acoustic space. I also explain that and how rhythmic-melodic movement meets this definition. In musical instruments such as the harp, marimba or piano, when a melody is played, sound vectors are projected simultaneously over the acoustical space as well as the physical space throughout the instrument. Using technological resources to synchronize several acoustic sources, it is possible to obtain a projection of sound impulses in wider spaces. In this chapter, electroacoustic sources and means are excluded. Sound vectors are classified in continuous and non-continuous displacement impulses. Examples are provided from some of my own compositions and from those of other composers that show non-continuous displacement impulses. In addition, I propose some compositional possibilities for these types of impulses. It is interesting to consider impulses with relatively fast speed on physical space, like a glissando on the harp or the piano, and the impression that these produce of a near cancelation of both the physical and the acoustical spaces between the sources. Sound vectors are a resource of great expressiveness. |
| Page range | pp. 213–232 |
| Print length | 20 pages |
| Language | English (Original) |
Ambrosio Salvador Rodríguez Lara studied music composition at the Faculty of Music of the National Autonomous University of Mexico (UNAM). At the same university, he now teaches classes in harmony, counterpoint, musical analysis, and composition for undergraduates and graduate students. His compositional interests include the use of spatialization with acoustic instruments, the interaction of acoustic instruments and electroacoustic media, and the use of textures of microtonal instruments. He has also developed a series of pieces with diverse resources from the family of recorders.