Temporality and spatial displacement of produced sounds in the space time continuum in principium

Temporality and spatial displacement of produced sounds have been emerging close to many musical discussions since the first timid investigations of the 50s, and the 60s. The debate has passed straight across the new millennia ground breaking contributions of biology and neurophysiology, on consciousness and awareness, now almost even bypassing cognitive musicology and psychoacoustic Yet there remain comparatively few sustained original researches, investigations and theses on the subject. In particular, contemporary and experimental music, which can offer radically unique temporal experiences in space, and spatial perceptive challenges in time; may provide many rich untapped sources for scholarly investigation possibly leading to new authentic creative development. Often, research stops short of examining the actual experience, the real thing of the concert and the rite of sound production rather falling back to focus upon what information can be drawn from the score, or which the aesthetic and philosophical compositional intentions behind a piece may be. Sometimes even worst judgement is drawn upon and is invoked in the aseptic virtual listening of a recording in environments virtually detached from the reality of the sound event. But what is the relationship between these composed designs, and individual perceptive temporal and spatial experience? The former can undoubtedly provide more abstract and pragmatic context to the discussion, but fails in producing a full understanding of the real, felt experience of musical spatial temporality hic et nunc. In numerous investigations the individual unquestionable experience is often replaced by supposed abstract objectivities, described using questionable terminologies often openly chosen to close off any discussion to other viewpoints. It looks, and sounds like , most of the argument is definitely rooted in certain domains belonging more with the nostalgic academic solitude that with the pulsing stream of a true performance . The resurrection of the score takes place in the double act of playing and listening in which sound, hereby defined as a living and breathing organism, is constantly interacting, and developing in the space time continuum. Every perceived sound is constantly filtered and redefined by the holy triptych of the emotion forming apparatus (memory versus consciousness versus genetic and intellectual background); and is in this perspective therefore that must be fully taken into account when observing as well as when composing. Investigation of spatiality and temporality in music needs to be a sincere research into how we experience music along an un sizeable and un separable spacet ime domain. How is the single experience altered by musical context, environment, and background, physical and emotional status amongst others? Reception of a musical event is double bounded to subjective perception of what happens in space time around us via filtering mechanisms, while pure subjectivity is intertwined with our own self-awareness, and self-consciousness. Consideration of all aspects of music making (writing, performing and listening) are vital to the discussion of the acoustic experience, in space time allowing for greater awareness and the development of further connections, procedures and routines able to directly address the listener as well as the composer and the performer. My work and speculations do not intend to provide absolute answers concerning the subject of how we might think about, or experience sound in spacet ime. Instead, I would like to open up new avenues for thought; so as to explore and provide original, focussed areas for new tools to foster creativity and listening experience in all its guises.