Performance Practice and Presentation [PPP]  >  Spatialisation  ]

Usually abbreviated to stereo, a form of sound recording and reproduction which aims to reproduce a spatial aural experience, in terms of width and depth, analogous to human binaural hearing. Two microphones (plus possible additional complementary microphones) are used to record two independent representations of sound to two channels. As well as representing a domestic audio standard, stereo has been widely adopted in electroacoustic music, stereo being suited to playback over any number of loudspeakers, and therefore used in diffusion systems, octophonic systems and so on. The term is derived from the Greek stereos, meaning solid, which is the aural effect it strives to achieve.


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Alphabetical order - Chronological order

Ascione, Patrick (1991). La polyphonie spatiale
Bayle, François, Ernoult, Franck (2002). François Bayle, dans son studio Magison
Dow, Robert J. (2003). Sound Diffusion and the Sonic Image
Dufour, Denis, Prager, Jonathan, Baudoux, Roald (2002). Interview Denis Dufour et Jonathan Prager (1/2)
Grintsch, Jan Simon (2006). La fonction perceptive de l’espace composé dans l’œuvre de François Bayle
Jubard, Philippe (1991). Un monde de simulacres
Keane, David (1980b). Tape Music Composition
Lejeune, Jacques (1991). La forme dans le paysage (2)
Malham, D. G. (1998). Approaches to Spatialisation
Menezes, Flo (1998). La spatialité dans la musique électroacoustique. Aspects historiques et proposition actuelle
Minjard, Jean-François (1991). Stéréo ou multipiste ?
Prager, Jonathan, Coppe, Dimitri (2005). Acousmaxi ou acousmini ? Motus, mais pas bouche cousue...
Souffriau, Arsène (1991). Espace-support Espace-acousmatique


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