Spatial organization in musical form

Classical Western music theory concerned itself primarily with tonal relationships between notes, while serialism focused instead on the relationship of elements in a series, typically, the temporal order of the 12 notes of the equal tempered scale. This work considers the nature of spatially organized music and how a theoretical basis might be formed for understanding the underlying concepts and expectations inherent in spatial composition. Previous examples of spatial organization are considered, and theoretical concepts such as dissonance, consonance, position, inertia, gravitation, and context are applied to spatial music. Practical considerations in achieving such motives are also discussed for real-world rooms and audio formats.