The HIEMPA (Hybrid Instruments from Electroacoustic Manipulation And Models of Pütorino and Aquascape) project combined a team of people with technical, artistic, environmental and cultural expertise toward the artistic outcome of extending the New Zealand sonic art tradition. The project involved collecting audio samples from the aquascape of the Ruakuri Caves and Nature Reserve in Waitomo, So...

The acoustic impedance at the diaphragm of an electroacoustic transducer can be modified using a range of active control strategies, amongst which is “direct impedance control”. This technique employs a combination of feedbacks, one on the acoustic pressure and the other on the diaphragm velocity, to the loudspeaker electric terminals, allowing significant modifications of the acoustic resonato...

Points of zero charge were determined on two highly weathered surface soils from Puerto Rico, an Oxisol and Ultisol, as well as mineral-standard kaolinite and synthetic goethite using three methods: (1) potentiometric titration measuring the adsorption of H and OH� on amphoteric surfaces in solutions of varying ionic strength (I) (point of zero salt effect), (2) direct assessment of surface cha...

Both the overall aging of the population and its exposure to higher noise levels have increased the tendency to hearing loss and the importance of improved hearing aids for speech perception. This article reviews improvements in conventional electroacoustic hearing aids, as well as recently developed alternative classes of speech-perception aids, including surgically implanted ouchlear stimulat...

Listeners experience electroacoustic music as full of significance and meaning, and they experience spatiality as one of the factors contributing to its meaningfulness. If we want to understand spatiality in electroacoustic music, we must understand how the listener’s mental processes give rise to the experience of meaning. In electroacoustic music as in everyday life, these mental processes un...

In a concert of two sound worlds, one acoustic and the other electroacoustic, it is difficult to balance both sonically. When texts, lights, gestures, movements from different artistic domains such as theatre, dance, or cinema combine with music this coexistence creates, result new language: language Constança Capdeville.

This paper describes the background and motivations behind author’s electroacoustic game-pieces Pathfinder (2016) ICARUS (2019), designed specifically for his performance practice with an augmented drum kit. The use of game structures in music is outlined, while musical expression context commercial games using conventional controllers discussed. Notions such as agility, agency authorship compo...

Loudspeakers, mastoid bone-drivers, hearing-aid receivers, hybrid cars, and more – these “anti-reciprocal” systems are commonly found in our daily lives. However, the depth of understanding about the systems has not been well addressed since McMillan in 1946. The goal of this study is to provide an intuitive and clear understanding of the systems, beginning from modeling one of the most popular...

This paper documents the development of Caress, an electroacoustic percussive instrument that blends drumming and audio synthesis in a small and portable form factor. Caress is an octophonic miniature drum-set for the fingertips that employs eight acoustically isolated piezo-microphones, coupled with eight independent signal chains that excite a unique resonance model with audio from the piezos...

In some of his early electroacoustic pieces, Xenakis pursued ground-breaking explorations in territories that, in retrospect, appear quintessential to his work in general. If we consider those electroacoustic works alongside with orchestra music like Pithoprakta (1955-56) and Achorripsis (1956-57), we get a composite picture where the theory of "stochastic music" is often managed in conjunction...