
Natasha BarrettNorwegian Academy of Music · Department of Music
Natasha Barrett
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21
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Publications (21)
Compact spherical loudspeaker arrays exhibit controllable directivity, and electroacoustic musicians have recently become interested in using their beamforming capacities to compose spatial music. In particular, directivities of 3rd-order or higher turned out to offer a sufficiently precise horizontal control. Our engineering brief proposes the 170...
In post-Schaefferian acousmatic music space has taken centre stage. Many composers would now regard space and spatialisation to be the unique quality that sets acous-matic music apart from other contemporary music genres. Yet as the popularity of ambisonics and other spatialisa-tion techniques has increased, many of the tools available encourage a...
Commonly we hear sound without experiencing the associated visual activity to tell us how the sounds were made or from where they originate. In the larger context of electroacoustic music, and more specifically in acousmatic music where causal visual information is removed, it is interesting to investigate how a sense of human agency may be evoked...
We propose a Bayesian probabilistic method to learn preferences from non-transitive pairwise comparison data, as happens when one (or more) individual preferences in the data contradicts what is implied by the others. Lack of transitivity easily arises when the items compared are perceived as rather similar and when the pairwise comparisons are pre...
We are interested in learning how listeners perceive sounds as having human origins. An experiment was performed with a series of electronically synthesized sounds, and listeners were asked to compare them in pairs. We propose a Bayesian probabilistic method to learn individual preferences from non-transitive pairwise comparison data, as happens wh...
Historically, most acousmatic works were composed in stereo and performed, or diffused, over loudspeaker orchestras. These systems furnished performers and composers with a wealth of opportunities to enhance the spatial contrast, motion, and musical articulations latent in the music. Although loudspeaker orchestras, stereo diffusion, andmore recent...
This article presents a report on technological and aesthetic practices in the variable-acoustics performance hall, Espace de Projection, at the Institut de Recherche et Coordination Acoustique/Musique. The hall is surrounded by a 350-loudspeaker array for sound-field reproduction using holophonic approaches such as wave-field synthesis and higher-...
This article presents a new approach to interactive spatial sonification of multidimensional data as a tool for spatial sound synthesis, for composing temporal-spatial musical materials, and as an auditory display for scientists to analyze multidimensional data sets in time and space. The approach applies parameter-mapping sonification and is curre...
We are immersed in a wonderful cacophony of sound. Sustained and intermittent pings, cracks, burrs, plops and tingles jostle for position in our heads. High-pitched delicate cascades contrast starkly with deep thunder like rumbles that seem to permeate our entire bodies. We are exploring a fragmenting fault zone from the inside, a dynamic geologica...
Historically, the Earth's environment and dynamics have influenced and
inspired the arts. Art in turn is a powerful vehicle for expression of
the natural world. It lends itself to public presentation in many forms
and appeals to a diverse audience. Science-art collaborations provide a
unique opportunity to connect with the public by taking science...
This paper explains the concept, technology and reality of the sound installation Adsonore. The important aspects of Adsonore are that it is interactive, continuously changing, permanent and located in a public space. The functioning of the human immune system lies behind its interactive design, the real-time sound processes and the physical constr...
Spatial elements in acousmatic music are inherent to the art form, in composition and in the projection of the music to the listener. But is it possible for spatial elements to be as important carriers of musical structure as the other aspects of sound? For a parameter to serve the requirements of musical development, it is necessary for that param...
An array of four microphones was set up in two rain forest locations in Costa Rica, and 12–14 hours of sound were recorded over a 24-hour period at each location. Using this acoustical location system, the distribution of animal signaling in time, space and frequency could be assessed. This study demonstrates the feasibility of localizing some anim...
The ‘art’ we produce today attempts to incorporate an increasing level of computer technology. There are many reasons for this trend, the most significant being a thirst for an exploration of the ‘new’, and the desire to parallel the increasing level of technology seeping into everyday life. However, when surveying recent developments we find an ar...
First-order ambisonics suffers from low angular resolution and a small sweet spot, and decoding to many loudspeakers does not help. Parametric decoding methods solve this problem, at the risk of introducing audible artifacts. A method for high an-gular resolution planewave expansion (HARPEX) is proposed, which combines the spatial sharpness of para...
A frequency-domain parametric method for transcoding first-order B-format signals to a binaural format is in-troduced. The method provides better spatial sharpness than linear methods allow. A high angular resolution planewave decomposition of the B-format establishes two independent direction estimates per time/frequency bin. This alleviates the r...
Thesis (Ph. D.)--City University, 1997.