Spatial Musicality: A practice-led investigation into the application of spatial parameters in music composition

Several previous research studies regarding spatial music composition have focused on the technical performance of different audio technologies. This practice-led investigation directly addresses a gap in prior research by assessing the validity of spatial music composition techniques concerning ecological/musical stimuli rather than audio technologies.
As part of the study, a portfolio of original musical works was created to develop an individual expressive voice that explores the potential of various spatial music techniques. The study addressed several research questions: How can I use space as a musical parameter? How will spatial parameters affect my compositional process? How can I investigate the qualitative use of space in my music? How will the performance space influence my compositional workflow? How can I implement any insights made in future works?
This study addresses the research questions by exploring the use of spatial parameters in music composition, documenting the compositional process, presenting insights gained regarding my own artistic practice, and applying these insights within a new performance space. To achieve this, the study takes a multimodal methodological approach, employing both an experimental and exploratory research strategy and a compositional development plan based on research praxis. Listening tests were used to collect quantitative and qualitative data from experienced participants. The data was analysed using statistical and thematic analysis, which informed the reflective phase of research praxis and subsequently guided further practice.
This study's portfolio works formed the stimuli for experiments to assess listener perception of three spatial attributes: Listener Envelopment, Presence, and Overall Listening Experience. These attributes were compared between two spatial versions of portfolio works numbered one to eight. The ‘composed’ version deliberately wove space into the music as a compositional element, whereas the ‘non-composed’ version was approached from an engineering perspective to achieve a well-balanced spatial mix using the same sonic materials in the same performance space. The experiment's results determined the effectiveness of the spatial compositional methods by measuring whether they elicited higher scores.
The listening tests provided numerous insights into my spatial artistic practice, detailed in chapter four. Insights made during the research project were also implemented within a ninth composition tailored for a different performance space and utilising an alternative audio reproduction method. Future researchers and composers are encouraged to use the compositional development plan outlined in this study to validate and expand on the insights presented while considering alternative musical styles and sonic technologies. Future research might also explore combining spatial composition with techniques involving listener interactivity and multimodal expressions.