3 miniatures for headphones (2018) is a triptych composed for a specific non-ideal listening space. In this instance, the work was installed around a concert space, for audience members to listen to as they desired during the concert interval. Before writing these short, one-minute acousmatic works, I knew the following of the eventual listening space:
It would be loud;
It would be bright;
Audience goers would be moving around the space, most likely conversing loudly.
3 miniatures were thus created to work within these decidedly non-ideal parameters. Certain acousmatic explorations, such as extremely soft dynamic levels, had to be discarded due to their likelihood of being undetectable. What I term “obnoxious” use of other techniques such as extreme spatialization, strident frequencies and rapid switches between textural states, prioritized.
For obvious reasons, the work would need to be experienced through high-quality, close-backed headphones. Thus, the listening becomes an intimate, individual experience.
A short, sharp structure was chosen to capture the audience’s fleeting attention. Each miniature is complementary, yet autonomous; the listener is free to listen to one or three before re-joining their companions.
To take the challenge of the non-ideal listening space further, the 3 miniatures were burned onto a cheap CD. To hear the works, the audience member was instructed to put on the provided headphones and press play on an unassuming, mid-2000s CD player. The method of delivery imparted a subtle crackle, settling like a layer over the existing sound. Interestingly, rather than masking the sonic detail, this added a new layer of depth which threw each sound object into stark relief. The noise layer also added the missing link between the works, filling what would otherwise be dead silence between each track.