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Line 6: The term "spatial music" indicates music in which the location and movement of sound sources is a primary compositional parameter and a central feature for the listener. It may involve a single, mobile sound source, or multiple, simultaneous, stationary or mobile sound events in different locations. There are at least ~~four~~three distinct categories when plural events are treated spatially:<ref>Maconie, Robin (2005). ''Other Planets: The Music of Karlheinz Stockhausen'' (Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc.): 296. {{ISBN\|0-8108-5356-6}}.</ref> #essentially independent events separated in [[auditorium\|space]], like simultaneous [[concert]]s, each with a strong signaling character #one or several such signaling events, separated from more "passive" [[reverberation\|reverberating]] background complexes #separated but coordinated [[musical ensemble\|performing groups]]. #sound in trajectory (flying in space) 1. as recorded sounds (born with [[Karlheinz Stockhausen]]'s Kontakt), andor 2. as performed instrumental live music (born with [[Mathius Shadow-Sky]]'s Ourdission <ref> Mathius Shadow-Sky polytrajectophonic music started with Ourdission in 1982 http://centrebombe.org/livre/1982a.html </ref>). #A multiple trajectories music is called: polytrajectophonic music, which generate multiple (= poly) andor massive path of sounds flux as birds-cloud with instrumental sound <ref> initiated and developed by the composer Mathius Shadow-Sky with Ludus Musicae Temporarium in 1980: http://centrebombe.org/dansleciel,lebruitdel'ombre.html also with: Unisolable & Unduplicable, the recipe of freedom in 2006 as most of his music works http://centrebombe.org/livre/2006.html</ref> andor with recorded sounds, both trajectorized through computer matrix system and [[spatialisators]] = [[spatial sound processors]]. ==Examples== Examples of spatiality include more than seventy works by [[Giovanni Pierluigi da Palestrina]] (canticles, litanies, masses, Marian antiphons, psalm- and sequence-motets),<ref>Lewis Lockwood, Noel O’Regan, and [[Jessie Ann Owens]], "Palestrina [Prenestino, etc.], Giovanni Pierluigi da [‘Giannetto’]", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (professor of music)\|John Tyrrell]] (London: Macmillan Publishers, 2001).</ref> the five-choir, forty- and sixty-voice ''[[Missa sopra Ecco sì beato giorno]]'' by [[Alessandro Striggio]] and the possibly related eight-choir, forty-voice motet ''[[Spem in alium]]'' by [[Thomas Tallis]], as well as a number of other Italian—mainly Florentine—works dating between 1557 and 1601.<ref>Davitt Moroney, "Alessandro Striggio's Mass in Forty and Sixty Parts", ''Journal of the American Musicological Society'' 60, no. 1 (Spring 2007): 1–69. Citations on 1, 3, 5 et passim.</ref> Notable 20th-century spatial compositions include [[Charles Ives]]'s [[Symphony No. 4 (Ives)\|Fourth Symphony]] (1912–18),<ref>Jan Swafford, ''Charles Ives: A Life with Music'' (New York: W. W. Norton & Company, 1998): 92, 181–82. {{ISBN\|0-393-31719-6}}.</ref> [[Rued Langgaard]]'s [[Music of the Spheres (Langgaard)\|''Music of the Spheres'']] (1916–18),<ref>Geoffrey Norris, "[https://www.telegraph.co.uk/culture/music/proms/7942710/Proms-2010-Prom-35-Danish-National-Symphony-Orchestra-Thomas-Dausgaard.html Proms 2010: Prom 35. A Danish Avant-garde Classic Is Expertly Reappraised.]" (review), ''The Telegraph'' (13 August 2010).</ref> [[Edgard Varèse]]'s ''[[Poème électronique]]'' ([[Expo 58\|Expo '58]]), [[Henryk Górecki]]'s ''Scontri'', op. 17 (1960), which unleashes a volume of sound with a "tremendous orchestra" for which the composer precisely dictates the placement of each player onstage, including fifty-two percussion instruments,<ref>Jakelski, Lisa (2009) "Górecki's ''Scontri'' and Avant-Garde Music in Cold War Poland", ''The Journal of Musicology'' 26, no. 2 (Spring): 205–39. Citation on p. 219.</ref> [[Mathius Shadow-Sky]]'s [[Ourdission]] for flutes, where their sounds are flying very fast in a space of an inflatable tube, place of the audience. 1982/83, London.<ref>http://centrebombe.org/ourdission4.html</ref> [[Karlheinz Stockhausen]]'s ''[[Helikopter-Streichquartett\|Helicopter String Quartet]]'' (1992–93/95), which is "arguably the most extreme experiment involving the spatial motility of live performers",<ref>Solomon, Jason Wyatt (2007), "Spatialization in Music: The Analysis and Interpretation of Spatial Gestures", Ph.D. diss. (Athens: University of Georgia): p. 60.</ref> and [[Henry Brant]]'s ''[[Ice Field]]'', a "'spatial narrative,'"<ref>Anon. (2002), "Brant's 'Field' Wins Pulitzer", ''Billboard'', 114, no. 16 (April 20): 13. ISSN 0006-2510.</ref> or "spatial organ concerto,"<ref>(2008). ''Musicworks'', no. 100 (Spring), 101 (Summer), or 102 (Winter): 41. Music Gallery.{{Full citation needed\|date=November 2011}}<!--Author, title of article, and inclusive pages needed. In addition, Musicworks paginates issues separately, so there are three separate pages numbered 41 in issues 100, 101, and 102. Page 41 in issue 101 is in the middle of an article by Eve Egoyan and Gayle Young on Ann Southam, so that isn't likely the right one. In no. 100 (Spring), pp. 36-42 are Jordan Nobles, "Music's Fourth Dimention" on Vancouver's Redshift Music Society; in no. 102 (Winter), p. 41 falls between two articles, "Crossing Borders: Yvat—Romania's Electronic Performer" by Sabine Bürger and Tim Beeby (pp. 34–40) and "In Club or Concert Hall: The Fabulous Jody Redhage" by Christian Carey (pp. 42–48)--></ref> awarded the 2002 [[Pulitzer Prize for Music]], as well as most of the output after 1960 of [[Luigi Nono]], whose late works—e.g., ''... sofferte onde serene ...'' (1976), ''[[Al gran sole carico d'amore]]'' (1972–77), ''[[Prometeo]]'' (1984), and ''A Pierre: Dell’azzurro silenzio, inquietuum'' (1985)—explicitly reflect the spatial soundscape of his native Venice, and cannot be performed without their spatial component.<ref>Andrea Santini, "Multiplicity—Fragmentation—Simultaneity: Sound-Space as a Conveyor of Meaning, and Theatrical Roots in Luigi Nono's Early Spatial Practice", ''Journal of the Royal Musical Association'' 137, no. 1 (2012): 71–106 {{doi\|10.1080/02690403.2012.669938}}, citations on 101, 103, 105.</ref> Line 72 ⟶ 70: * Roschitz, Karlheinz. 1969. "Beiträge 1968/69". ''Beiträge der Österreichische Gesellschaft für Musik'' 2. * Schnebel, Dieter. 2000. "Zur Uraufführung von ''Extasis'' für Solosopran, Schlagzeugslo, vierfach geteilten Chor und großes Orchester". In '''Komposition und Musikwissenschaft im Dialog I (1997–1998)'', edited by Imke Misch and Christoph von Blumröder, 26–39. Signale aus Köln: Musik der Zeit 3. Saarbrücken: Pfau-Verlag. {{ISBN\|3-89727-049-8}}. * [[Shadow-Sky, Mathius]], The Book of Ephemerodes, edition Acquaviva 2018. * [[Makis Solomos\|Solōmos, Makīs]]. 1998. "Notes sur la spatialisation de la musique et l'émergence du son". In ''Le son et l'espace'', edited by Hugues Genevois, 105–25. Musique et Sciences. Lyon: Aléas. {{ISBN\|2-908016-96-6}}. * Stockhausen, Karlheinz. 1957. "Musik im Raum". ''[[Die Reihe]]'' 5 ("Berichte—Analyse"): 59–73. Reprinted in his ''Texte zur Musik'' 1, edited by Dieter Schnebel, 152–75. Excerpt reprinted under the same title in ''Darmstädter Beiträge zur Neuen Musik'' 2, 30–35. Mainz: Schott, 1959. English version, as "Music in Space", translated by Ruth Koenig. ''Die Reihe'' 5 ("Reports—Analyses", 1961): 67–82.

Spatial music: Difference between revisions