ABSTRACT
The spatial qualities inherent to music recordings primarily function at two levels of the structure; one LaRue calls the ‘large dimension’ and the other at a ‘middle dimension’.1 Each level has distinct and unique spatial qualities. These qualities contribute greatly to shaping recorded music at these two primary structural dimensions. It is most common to have spatial elements or relationships of spatial qualities exist or function at these two primary levels, with spatial qualities also existing at lower structural levels; evaluating these levels brings a focus on materials from the subtlest of activity in microanalysis, to middle-analysis (of middle dimension materials and activity), and macro-analysis (at the highest structural level).2
