13. Spatial Movement of Sound Vectors

In this chapter, I discuss the concept and definition of a sound vector in acoustic space. I also explain that and how rhythmic-melodic movement meets this definition. In musical instruments such as the harp, marimba or piano, when a melody is played, sound vectors are projected simultaneously over the acoustical space as well as the physical space throughout the instrument. Using technological resources to synchronize several acoustic sources, it is possible to obtain a projection of sound impulses in wider spaces. In this chapter, electroacoustic sources and means are excluded. Sound vectors are classified in continuous and non-continuous displacement impulses. Examples are provided from some of my own compositions and from those of other composers that show non-continuous displacement impulses. In addition, I propose some compositional possibilities for these types of impulses. It is interesting to consider impulses with relatively fast speed on physical space, like a glissando on the harp or the piano, and the impression that these produce of a near cancelation of both the physical and the acoustical spaces between the sources. Sound vectors are a resource of great expressiveness.