Dinámica demográfica

The previous section highlighted the need for acts of interpretation, and suggested that performers develop their interpretative ideals relative to the sonic behaviours, references and structural functions found in specific acousmatic works. These ideals may be more, or less, crystallised in the mind of the performer. However, the performer cannot possibly make all of their various interpretational decisions in advance of a performance; various contextual

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constraints will determine what is possible and, in many cases, what is suitable in a given performance situation. To demonstrate this point, we shall consider three main contextual constraints, including the type of diffusion system, the acoustic of the performance space and the size and placement of the listening public⁸¹.

Acousmatic performers may develop interpretative ideals in advance of a given performance. However, these ideals often need to be adjusted in response to the specific diffusion system that is being used⁸². For example, a performer may decide that a high spectral texture is best presented above the audience in order to situate the sound relative to its perceived occupancy of spectral space.

This decision may function particularly well as an interpretative ideal. However, unless the diffusion system has a set of loudspeakers located above the audience, it will be impossible to achieve during the act of performance. This point is particularly pronounced when one considers the presentation of multichannel works; the performer may intend to perform a given work but discover, upon seeing the diffusion system, that playback is the only option. These examples, which imply that diffusion systems necessarily constrain interpretative ideals, may be inverted; diffusion systems may also present certain possibilities that were not considered during the formulation of an interpretative ideal. For example, the BEAST system has certain pre-set movements that, unless known in advance, will not figure in an interpretative ideal until they discovered during the rehearsal. In this example, the interpretative ideal will still require some adjustment, albeit to encompass previously unconsidered possibilities.

Interpretative ideals are not merely adjusted relative to diffusion systems but are, in most cases, adjusted in response to the particular space in which the performance will take place; as discussed in Section 1.3 and Section 2.2, the acoustic influence of listening spaces may have significant impact upon the various sounds that occur during a performance and thus alter certain features or

81 This section is relatively short, since many of the central ideas have discussed above. For example, diffusion systems were discussed in Section 2.1 and Appendix II, performance spaces were discussed in Section 1.3, and listeners were discussed in Section 2.3 and Appendix I.

82 The specific diffusion system in use may be known in advance and, in such cases, the performer is able to develop an interpretative ideal relative to that system. This is not always the case and, as a result, performers are often required to make significant interpretative decisions during a rehearsal (and sometimes during a performance).

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properties of the associated work. In some cases, the performer will be familiar with the space, and may draw upon their prior experience during the formative process outlined above (Section 4.1). In some cases, the performer will be unfamiliar with the listening space and will, as a result, need to use any rehearsal time to assess how the space affects the work. We shall briefly consider this point.

The acousmatic performer may have formulated an interpretation in advance of a performance. However, the acoustic influence of the listening space may require an adjustment to this interpretative ideal. For example, the performer may find a work’s dynamic range and spatial image(s) to be (unexpectedly) expanded or compressed, or that reflections, refractions and absorption alter the work’s various spectral and spatial properties (as discussed in Section 2.2). The performer may respond in one of two ways; the performer might find the acoustic influence of the listener space problematic and, as a result, employ a range of corrective agential acts or, alternatively, he or she may embrace (and even attempt to enhance) this influence using expressive agential acts. Either way, it is likely that performers will either adjust or reconsider their interpretative plans in response to the listening space. This point has been mentioned by Simon Emmerson, who notes that: “[...] different interpretations are seen as venue specific” (Emmerson 2007a, p.31).

The performer may become accustomed to the performance space during a rehearsal. However, it is necessary to listen from a variety of positions within the space to account for the various positions that audience members may occupy. This point has been raised by Trevor Wishart:

During rehearsals it’s important to listen from various different seating positions in the auditorium, paying particular attention to the most peripheral seats (those furthest removed from the ideal centre of the stereo image). A projection [or diffusion]

may sound perfect from a mixing desk placed at the centre of the stereo image but underwhelming if sitting on the periphery so compromises may have to be made to provide a good experience for the majority of the audience.

(Wishart 2012, p.160)

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This point applies to the interpretative ideal; planned agential acts may need to be adjusted to account for the various positions that listeners occupy.

Interpretations are listener-directed and must therefore serve the needs of the listener within the concert space.

Interpretative decisions that are formulated during a rehearsal may need further adjustment during the act of the performance. This is because: “The presence of the audience will itself alter the venue acoustic [...]” (Wishart 2012, p.160). Wishart goes on to suggest that this should not drastically alter the main features of the rehearsed diffusion, suggesting that any changes are mostly likely the affect the overall sound level and dynamic contours found within the work.

This brief section serves to highlight the following point: interpretative ideals, which are typically formulated in advance of a given performance, often need to be adjusted (sometimes significantly) immediately prior to, and even during, a given performance. Thus, advance preparation, although crucial if the performance is to succeed, is not a panacea. With this in mind, the following is clear: interpretations require a range of specific skills that may be called upon and relied upon during the act of performance. The following section considers this point and highlights some of the various ways in which interpretative skills are developed, regulated and refined.