Abstract
Research into the psychoacoustics of spatial hearing and into computer-based technologies has brought about an exciting potential for the development of ‘spatial music’: a compositional approach to the musical organization of sound that considers the position of sound sources and the character of the environmental context to be as musically important as melody, harmony or orchestration. Space as a musical parameter is overviewed, the potential areas and concurrent limitations of spatial music composition are described, and the likely causes of perceptual mismatch between the composer and the listener are reviewed. Headphone music as a solution to the mismatch problem is proposed, and a description of the spatial signal-processing technique developed by the author is given. The compositional considerations used in two computer music headphone compositions, Revelations by the author and Begault Meadow by Gordon Mumma, conclude the discussion.
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