Colloquium - Presenters

ABSTRACT

Room resonance is often seen as an extension of our musical instruments. As musicians, artists
and acoustic researchers, built environments such as churches, cathedrals, and large
performance halls have functioned as sites for research and digital modeling. However, these
spaces can be noninclusive and gated as they are often tied to specific theologies, wealth, and
social status. In an effort to broaden this field of study, this paper examines the possibility of
inclusive community performance spa-ces beyond built structures through a case study of the
open-air stages in the cloud forest of Costa Rica. In addition, to promote access this project
explores options for recreating those spaces virtually. Conventional modeling techniques
involving impulse responses and convolution reverb software prove ineffective for outdoor
spaces, and instead, the resonance of these spaces is inferred through auditory responses of
surrounding birdsong using Somax2 generative AI musical agents. As a means of further
exploring this resonance, a composition/instrument entitled Cloud Conversations was created
by combining a guitar composition and Somax2 agents, providing a virtual overlap of spaces
and resonances. This novel approach to modeling the sonic resonances of outdoor performance
spaces expands the field of study to support future community-oriented practices that can be
shared both in the field and online.

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KEYWORDS 

acoustics, room resonances, generative AI music, community performance space, convolution
reverb

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BIO

Omar Shabbar is a musician, researcher, sound artist, and audiophile based out of Toronto.
Currently working towards a PhD in Digital Media at York University, Shabbar’s work explores
expressive applications for new sound technologies through the creation of new instruments
and sonic environments. As an active touring musician with two decades of gigging experience,
Shabbar’s lifelong obsession with the guitar and live performance informs much of this creative
process. His most recent work aims to look outwards, beyond conventional instruments, and
focus on the role of the performance space as a co-creator. Moving past traditional performance
spaces like churches or performance halls, this recent work focuses on community spaces,
specifically outdoor performance spaces in Latin America. Shabbar’s work demonstrates how
the sounds of these often overlooked spaces influence musicians and contribute to the overall
performance.