Instrumentation and physical space Sample Clauses

Instrumentation and physical space orchestral layout A very relevant factor of symphonic music has to do with the physical space it requires to be performed and experienced. Large orchestras require large stages and large halls for project- ing the sound to audiences of considerable size. This expands the sonic possibilities, which are richly exploited by both composers and conductors. The spatialisation of the sound is a Figure 2: Screenshot of the Reduced piano roll visualisation case. key element of the performance, as it affects the way listeners perceive the different sonorities as coming from different locations. This is also a main concern for producers when mixing symphonic recordings. As discussed for the Instrumentation case (Section 3.2.2 below), visual- isation can be used for explaining which instruments are playing at each time. A complementary visualisation can extend this information, by explaining from “where” the different instrumental sounds arrive. That is, a spatial localisation of the instruments in the stage. This is referred to as the Orchestral Layout visualisation. The base descriptor is the same as for the instrumenta- tion: the activation of every different instrumental section over time. Additionally, it also uses the individual dynamics from each instrumental section, as obtained by means of source separation (D3.6). Figure 3 depicts a screenshot of the Orchestral Layout visualisation case, correspond- ing to Eroica’s performance by RCO, as used in the focus groups user studies on visualisation (Section 4). A link to the video clip used in the study is available in Appendix 8.1. The figure represents a schematic view of the orchestral layout, as featured during the actual performance. This information was rendered from a very high-angle (almost bird’s-eye view) picture of the concert hall. This perspective, as used in photography and cinema, is purposeful for presenting the individual subjects (here, individual players, including the conductor) as part of a wider context, not giving protagonism to anyone in particular. In contrast with the lower- angle perspective in the concert hall, as the audience observes the stage, this extreme angle is intended to induce the viewers with a sense of situational omniscience. On top of this lay- out, different colours are highlighted for representing the activity of each of the musicians. The intensity of the colours follow the individual dynamics of the section. The visualisation, thus, integrates three different musical pa...