What I'm working on
- a joint publication of the international association of composers and performers FöreningenMusikspektra T: Threads of sounds – festival nuovi affreschi sonori, post on the page. 79 – 81 the compositional work with auditory illusions: "the Subjective perception of the listener as the main compositional tool composer", ed Örebro Universitets Tryckeri, Sweden, 2020
- proceedings of the Territories of the arts 2019, the contribution on the theme of "Combination tones of acoustic instruments and their application to the various forms of the compositional process", ed NAMU Praha, 2020
- 20. 11. 2019 (Prague) – academy of music, the conference of the Department of theory "Research of musical art", a lecture on the topic of "psycho-acoustics as a source of inspiration for the composer of contemporary classical music"
- 18. 10. 2019 (Prague) – Theater inspiration, 6. annual scientific conference of doctoral students of art colleges "TERRITORY of ART 2019", a lecture on the topic: Combination tones of acoustic instruments and their application to the various forms of the compositional process
- 2. 4. – 4.4. 2019 (Prague) – Network Performing Arts Production Workshops a common output of, and participation in the international conference of Jan Otčenáška (sound production) and Soni Decrepit (song), a lecture on the topic: Contemporary and experimental composition and remote performances: history and implementation. https://npapws.org/
- October 2018, in the framework of the international songwriter of the symposium, "Kompozičné paradigms yesterday, today, zajtra", Slovakia (VŠMU Bratislava)
theme: "Auditory illusions and their influence on the compositional process"
- August 2018, in the framework of the festival of contemporary music in Italy (For Loco Bomb),
theme: "the Paradoxes of musical hearing (auditory illusions and their use as a compositional element)"
- Auditory illusions and their use as a compositional element in a composition (the subject of the research)
- The aim of this research is the mapping and subsequent use of the potential of distorted perception in perceptual analysis of specific musical phenomena, which will be subsequently used as compositional elements in a composition. To a distortion of our perception can occur, for example, through the "false" evaluation of the specific sound initiative of our sensory receptors in the brain or nelinearitami emerging in the context of the transfer function of the human hearing organ. This fact I would try different ways to take advantage of and was subsequently reflected in the compositional thinking, thereby extending the space in the perception of the music events in our space-time continuum of the other options. For example, in terms of the perception of structure, time, timbre, organization, and the ratio of tonal heights, manipulations with the registry or subjective switching between the roles of the individual layers. One of the aims is to support the assumption that the auditory illusion can be a full-fledged compositional element within the structure of the musical surface, as each different speech sound, whether in the form of melodic embellishment, multifonik or other extended techniques and compositional approaches.
- Mentioned musical phenomena, which are subject to various psychoakustických research for acoustics, musicians (composers and theorists), cognitive psychologists and neuroscientist, are in the general text of the auditory illusion (auditors illusions). Meaning of the word illusion here I understand the distortion of reality that occurs when the adoption of a certain type of sound stimulus/initiative of the human ear when the ear and brain that process the sound to the sensations, to change the relationship between the physical components that existed in the creation of the stimulus. Incurred by the sensations actually actually do not exist (whether it is the illusion of auditory, spatial, or, for example, the optical, the basic principle is the same).
- The basis for the emergence of auditory illusion is real sound stimulus (stimulus), whose specific characteristics, within the meaning of sound (temporal, spectral, total sound pressure levels, etc.), which were objectively given design and field characteristics of the sound sources and their time-spatial proportions, can be the cause of the distorted and often also variable process of our perception. For example: a specific music department or a rhythmic sequence is fixed given in the notation in the context of the score (objective reality) and subsequently as follows interpreted. In the case of auditory illusion, if such a stage musical perceived by the listener, its in quotation marks imperfect sensory processes, there is a mismatch between the notation and what the musical formula, patterny, rhythmic layers or formations to evaluate our perception for the supposedly correct (subjective reality). Results psychoakustických tests often reveal the existence of the various options or combination of how similarly, or differently, we can perceive one and the same stretch.
- The subject of the examination are specifically multistabilní and bistable auditory illusion. In the framework of the one posted stimulus we are able to completely independently of each other to hear a few of his shapes (bistabilita – max. 2 shapes, multistabilita – 3 and more different shapes). Individual shapes can be heard only separately, i.e. our perception between them unpredictably switches, as for example between the two pictures in the case of bistable optical illusion. Therefore, you see more at once. The question for the music of the composer might be, by what means can these unpredictable shapes influence and subsequently of them shape the music of the area? Ways to make use of, for example, the spectrum of acoustic instruments, the influence of the amplitude in time, pace + rhythm, subjective versus objective perception of the musical flow (layers) in time. Another issue that seamlessly builds on the previous ideas is the extent of the impact of different types of auditory illusions on the tectonic and the formal side of the tracks.