In his autobiography, John Adams mused that his 2005 opera, Doctor Atomic, challenges directors and conductors owing to its ‘abstracted treatment’ of time and space. This abstraction also challenges scholars. In this article, I bring the cross-disciplinary field of sound studies into the opera house to demonstrate that Adams's obfuscation of operatic space–time is achieved primarily through the use of a spatialised electroacoustic sound design. Drawing on archival materials and new interviews with director Peter Sellars and sound designer Mark Grey, I outline the dramaturgical, epistemological and hermeneutic ramifications of sound design for opera studies and advocate for disciplinary engagement with the spatial dimensions of electroacoustic music generally, and within opera specifically.

中文翻译：

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原子博士或：约翰亚当斯如何学会停止担心并热爱声音设计

在他的自传中，约翰亚当斯认为他 2005 年的歌剧，原子博士，由于其对时间和空间的“抽象处理”，对导演和指挥提出了挑战。这种抽象也对学者提出了挑战。在本文中，我将声音研究的跨学科领域带入歌剧院，以证明亚当斯对歌剧时空的混淆主要是通过使用空间化的电声声音设计来实现的。利用档案材料和对导演彼得·塞拉斯和声音设计师马克·格雷的新采访，我概述了歌剧研究声音设计的戏剧学、认识论和解释学的影响，并倡导对电声音乐的空间维度进行学科参与，特别是在歌剧中.