Cycloramic stereotone positioners for weaving streams in space

The introduction of spatiality as an integral dimension of musical tone exerts an influence upon the net character of the music produced that is so profound as to make such music generically distinct from the prior art. After briefly introducing plastic music by means of discussing fundamental aspects of chord connection obtained by the continuous rearrangement through space of stereotones among stereostreams as seen in an harmonic kaleidoscope, for example, the relative merits of overt and covert circumradial pickup embodiments are reviewed. An overt embodiment represents the earphone‐conveyed subjective disposition of the listener in the audience in relation to the players surrounding the pickup observably in that a microphones and baffle assembly is seen to be oriented as the score is executed. A covert embodiment operates by means of electronic switching among stationary microphones in a circular array and thus eludes mechanical problems but at the same time denies the spectacle of a motional presentation that promotes comprehension and emphasis by the correspondence perceived in visual and auditory cues.