A piece of original electro‐acoustic music, Sonic Waters II, was created. Software “instruments” and “note lists,” descriptions of the behavior of those instruments in the musical time of a sequence, were specified for the cmusic synthesis program to produce, by frequency modulation, amplitude modulation, and localization and motion within a synthesized space, morphological transformations of several harp recordings. Means of (1) transduction of this wide‐band musical work (20 Hz to 16 kHz) for human listeners immersed in water and compensating for changes of such musically significant psychoacoustic cues as depth perception and relative amplitudes of overtones occasioned by the prominence of bone conduction in underwater listening were investigated. One pressure‐loaded diaphragm and four piezoelectric transducers were positioned to broadcast the computer‐processed sound. The wavelength of some bass notes exceeded the dimensions of the pool, limiting musically useful propagation of low frequencies due to cancellation and reinforcement of standing waves. [Work supported by the CME, System Development Foundation and the French government.]

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