The Sonic Augmented Reality (SonAR) project explores the artistic potential of smartphone-based music connected to the environment of its locale. This connection is inspirational, logistic, and literal.
The music of SonAR Study I is composed of 11 different audio tracks
Each track is inspired by the actual ambient sound(s) that dominate various locations on the St Cloud State University campus. These sounds were identified and selected by conducting soundwalks, documenting what I heard and what my ear was drawn to. This documentation took the form of written notes and audio recordings.
Each track is synthesized sound, with the exception of the piano track, which is a recording of me performing in the Performing Arts Center Ruth Gant Recital Hall. The synthesized sounds were created with the sound design environment, Kyma.
The composition is experienced by downloading an app to a smartphone, which includes the 11 audio tracks and a map of the campus. The map displays the listener’s physical position on the campus during playback. The map also labels the original locations of the various inspirational sounds.
It is recommended that listeners use headphones or earbuds to experience the piece. Unless the listener uses noise-canceling headphones or operates the phone at damaging levels, the actuals sounds of the campus will bleed through and mix with the recorded audio tracks.
Each track plays back from virtual speakers located in different campus locations, generally corresponding to the source of the individual inspirational sounds.
As the listener navigates campus, GPS tracking compares the phone location relative to the virtual speaker locations. The 11 audio track levels are adjusted based on the listener’s proximity to the virtual sound sources, changing the “mix” of the tracks. Some locations on campus will completely obscure the presence of some tracks.
Different paths through campus will produce unique musical experiences with the same audio tracks.
The large-scale structure of the music remains the same with each listening; the composition will always be 12’15” duration, and the content of each track will remain the same as well. The dynamic mix will result in different sonic “perspectives” of the piece with each listening, and likely be equally impacted by the changing actual sound of the environment.
The music of SonAR Study I is composed of 11 different audio tracks
Each track is inspired by the actual ambient sound(s) that dominate various locations on the St Cloud State University campus. These sounds were identified and selected by conducting soundwalks, documenting what I heard and what my ear was drawn to. This documentation took the form of written notes and audio recordings.
Each track is synthesized sound, with the exception of the piano track, which is a recording of me performing in the Performing Arts Center Ruth Gant Recital Hall. The synthesized sounds were created with the sound design environment, Kyma.
The composition is experienced by downloading an app to a smartphone, which includes the 11 audio tracks and a map of the campus. The map displays the listener’s physical position on the campus during playback. The map also labels the original locations of the various inspirational sounds.
It is recommended that listeners use headphones or earbuds to experience the piece. Unless the listener uses noise-canceling headphones or operates the phone at damaging levels, the actuals sounds of the campus will bleed through and mix with the recorded audio tracks.
Each track plays back from virtual speakers located in different campus locations, generally corresponding to the source of the individual inspirational sounds.
As the listener navigates campus, GPS tracking compares the phone location relative to the virtual speaker locations. The 11 audio track levels are adjusted based on the listener’s proximity to the virtual sound sources, changing the “mix” of the tracks. Some locations on campus will completely obscure the presence of some tracks.
Different paths through campus will produce unique musical experiences with the same audio tracks.
The large-scale structure of the music remains the same with each listening; the composition will always be 12’15” duration, and the content of each track will remain the same as well. The dynamic mix will result in different sonic “perspectives” of the piece with each listening, and likely be equally impacted by the changing actual sound of the environment.
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