[Column] Floating Points and acoustics as science - Analytical development of ambient jazz
Column en Ambient Ambient Jazz Jazz![[Column] Floating Points and acoustics as science - Analytical development of ambient jazz](/../assets/images/column-floating-points.webp)
1. Introduction: Musician as Scientist
| Text: mmr | Theme: Floating Points by neuroscientist Sam Shepherd. Explore the scientific structure hidden in his music and its redefinition as ambient jazz |
Sam Shepherd, aka Floating Points, was a neuroscientist before he was a musician. The ““precise sound design” and ““organic improvisation” that characterize his work are the very thoughts he creates as he goes back and forth between the laboratory and the stage. Electronic sounds are not inorganic data, but can be seen as waveforms that fluctuate in the same way as brain reactions. For him, sound is both a “measurable natural phenomenon” and the “uncontrollable breath of life.”
2. Science of structure - Elaenia period (2015)
His debut album ““Elaenia’’ is a turning point in the scientific reorganization of the context of ambient jazz. The sound consists of modular synthesizer waveforms, Rhodes overtones, and string reverberations layered together to create a frequency dialogue. This dialogue is more like ““resonance as a physical phenomenon’’ like wave interference than improvisation.
“Silhouettes (I, II & III)” is a 10 minute sonic experiment, Synth LFO (low frequency vibration) and drummer Leo Taylor’s rhythm Repeat synchronization and desynchronization as frequencies of different periods.
There is a moment here where “human rhythm” and “machine cycle” intersect. It”s not just a fusion, it”s a point of observable chaos.
3. Compression and implosion - Crush period (2019)
In “Crush,” synthesized sound pressure and jazz rhythms are compressed to the limit. The result is an improvised form of electronic energy. In the title song “Falaise”, the algorithmic filter modulation changes in milliseconds, Sound flows almost like a ““physical phenomenon of liquid.’’
In Shepherd’s studio, Ableton and Eurorack serve as models of neural networks in the brain. Each knob tweak is an acoustic experiment that changes the rate at which neurons fire. At this point, jazz improvisation no longer becomes a ““person’s performance” but a ““response to a signal.” It is “improvisation performed by a machine” and is also a pioneering form of post-human jazz.
4. Resonance of light - Promises period (2021)
Promises, co-written with Pharoah Sanders, is a work in which Floating Points’ scientific sonic thinking reaches the realm of the soul. This album intersects the physical “measurement of sound” and the metaphysical “sense of time.” The motif that runs through the nine-chapter suite is the repetition of just a few notes, which change like quantum interference patterns.
Pharoah Sanders’ saxophone blends into electronic sounds while maintaining its human “breathing” quality. The balance is like the relationship between the observer and the observed object. Floating Points’ sounds measure space, and Sanders’ breath sways it. There, science and spirituality, measurement and prayer coexist as one acoustic phenomenon.
5. Analysis diagram: Acoustic triaxial model
Below is an abstract model that represents the acoustic structure of Floating Points in terms of the “frequency axis,” “sound pressure axis,” and “improvisation trajectory axis.”
While jazz improvisation was a temporal phenomenon, this model The acoustics of Floating Points show that improvisation unfolds in space and frequency. The listener becomes a listener who observes space rather than following time.
6. Critical Supplement: Redefining Ambient Jazz
What Floating Points presented was not ambient “tranquility” but Silence as a dynamic observation. “Ambient” here is not environmental music, but “Field of Observation”.
While Brian Eno explored sounds that “expanded” space, Shepherd designs “sounds to analyze.” This difference signifies a shift in which the listener becomes a researcher rather than a meditator. Ambient jazz has transformed from a music of emotion to a music of thought.
7. Chronology: Floating Points Acoustic research trajectory
8. Conclusion: Observing sound
Listening to Floating Points’ music is more like an act of ““observing” the sound rather than ““experiencing” it. Here, hearing functions as a scientific sense organ, and music rises to the middle ground** between the mind and the physical.
The genre of ambient jazz was created by him from ““experimental music in silence.’’ It evolved into ““music as observation.’’ It is an attempt to explain the unexplainable using the language of science, That contradiction is at the heart of Floating Points’ aesthetic.
