The prototype experiment made it abundantly clear how the chamber changed the way we listened. Experiencing the five speakers that didn’t have a chamber around them, we stood in the middle and listened standing. While the music was not spatially static, with the foreground part moving from speaker to speaker around us, our bodies did remain static. However, listening to the part that was in the prototype chamber, we all interacted with the part in a very physical way. As each listener played with the adjustable acoustic lining of the chamber, the chamber focused the listeners, concentrating their ears on the violin part that was playing in the chamber, and how it interacted with its neighbouring parts.
Because of this, the prototype experiment has affected the scale of the piece, and how I will go on to expand each sketch that I’ve written. I had only recorded twenty seconds of music, but the recording was played many times during the experiment, and the listeners were still fascinated by it, finding new angles to listen from, and experiencing it slowly. It made me aware that I need to give more time to each idea that is presented within Permutations so that the listeners are not rushed as they explore the music through the space.