John D. Moeller
I explore sound spatialization in my compositional work. Sound spatialization is the placement and sometimes movement of sound in real or virtual space. I am interested in surrounding listeners with three-dimensional music and creating compelling sonic worlds that listeners can navigate through.
My works have been performed in France, the Republic of Ireland, the United States, and the United Kingdom—including settings such as the International Computer Music Conference, the Sonorities Festival of Contemporary Music, and the Festival Eurek’art.
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Ph.D., Queen’s University Belfast (Sonic Arts Research Centre)
M.M., New York University
Certificat, Centre de Création Musicale Iannis Xenakis
B.M., Brigham Young University
Recent Projects
Voltage changes induced in the conductor of a coil pickup are used as audio signals in Induction-Transduction.
Music for the Home is intended to enhance the atmosphere in a home.
Swords into Plowshares is a sonification and visualization of estimated nuclear warhead stockpiles from 1945 to 2022.
Recorded sound samples are divided and joined into new combinations in BEFB.
Still Small Voice represents Elijah’s experience on Mount Horeb.
Elements of the Plan of Happiness are sonically depicted for both stationary and non-stationary audiences.
103, 104, 105, 106, and 107 are sonified in Numbers.
Songs of a Northern Mockingbird are processed in various ways in Bird Song.
Travel in spaces of Love, Joy, Peace, and Healing.
Holy Spirit is an exploration of the inner space of the soul.
Aspects of space and time of a two-part melody for soprano and tenor recorder are transformed in Spatial and Temporal Variations.
Sound synthesis parameters in Prayer are controlled with data from an audio recording of a spoken prayer.
Parable of the Sower uses sound to depict the eponymous parable.
Disklavier Study is for real-time, computer-controlled Disklavier. Disklavier Study II is a walk-about recording of a computer-controlled Disklavier.
Garden and Garden II are for non-stationary listeners and 48 non-stationary performers in an outdoor space. Garden III is presented using a locative-media app.
Now the Day Is Over and We Are Sowing are unique approaches to the hymns of the same names.
In 3 x 6, three performers shape separate sound streams using the position of their hands in 3D space.
Wind Chimes and Melt are field recordings of notable outdoor soundscapes.
Tree of Life is a 24-channel installation. Audience members are able to freely navigate among loudspeaker units that hang from various heights in the presentation space. Stage lighting and scent are also incorporated into the installation, creating a multi-sensory experience for each listener.
First Vision is a 96-channel work for non-stationary audiences. The sounds of First Vision are spatialized using 96 loudspeakers placed in a grid formation on a field. Listeners are able to move freely through the field.