Post -by Gautam Shah
Most experienced speakers, stage actors and musicians (vocal and instrument players) have an innate or learned capacity to improvise their output immediately on encountering a new space. They readjust -their output according to the audio response from the nature of space.
The Nature of Space is determined by several objective and Subjective factors.
The objective factors are the size, scale, shape and form (hard vs soft surfaces) of the architectural space. Other objective factors include degree of echoes or reverberation in the space, quality of public address system, location and direction of the speaker or musician, etc. The occupancy or crowding in the space, and the nature of garments, furniture and furnishings also affects the perception of sound. The background noise seeping to the speaker or performer’s area and the audience, or to the listener (in small gatherings) could be very different. This means that a performer may not perceive the audience or listener’s environment. Only way to sense this is through the recognition of behavioural responses. Experienced speaker or performer raises the voice and change the tonal quality, and if there is a longer reverberation, the pauses are widened and delivery stretched in time.
Speaker or performer sense the space and focus the address to that part of the audience, where Sound delivery is perceived to be inadequate. The performer use enlarged body language and dress movements to supplement the Sound.
The Art of Noises (Italian: L’arte dei Rumori) is a Futurist manifesto written by Luigi Russolo in a 1913. Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial sound-scape. He proposes a number of conclusions about how electronics and other technology will allow futurist musicians to ‘substitute …. infinite variety of timbres in noises, reproduced with appropriate mechanisms.
Russolo states that noise first came into existence as a result of 19 C machines, before this, the world was a quiet, if not a silent place. The prominent noises were of storms, waterfalls, and tectonic activity. The noises were not loud, prolonged, or varied. Russolo claims that music has reached a point that no longer has the power to excite or inspire. It still sounds old and familiar, leaving the audience. Wide arrays of noises are taken for granted, yet (potentially) musical in nature.
The variety of noises is infinite. If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises, tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty thousand different noises. He wants musicians to pay attention to noises and their complexity.