The dolby atmos technology in the context of the analysis of contemporary Ukrainian music

Abstract

The article is dedicated to the study of the application of immersive audio technologies, particularly the “Dolby Atmos” format, in contemporary music production. The integration process of the object-based audio format into musical art, its impact on compositional strategies, artistic structure, and the emotional perception of works is analysed. Special emphasis is placed on the relevance of developing new methodologies for mixing and music analysis in a three-dimensional environment due to the lack of systematised approaches in current sound production practices. Based on the analysis of spatial solutions in the compositions of Ukrainian artists, methods of localisation of vocals, instruments, and reverberation effects in the immersive space are investigated. It is revealed that the three-dimensional organisation of the musical space enhances the emotional engagement of the listener, expands the possibilities of artistic expression, and alters the narrative structure of the work. A conclusion is formulated regarding the necessity for further development of the methodology of object-based production and the improvement of technological processes of mixing in a three-dimensional audio environment. The article substantiates the prospects of immersive technologies for the future development of the music industry and emphasises their role as a tool for forming new models of perception in audiovisual art. The objectives of the article are to analyse the artistic strategies of spatial placement of audio objects in contemporary music production and to explore the impact of immersive technologies on the emotional and semantic perception of musical works. The aim of the article is to identify the specific features of applying the Dolby Atmos format in contemporary Ukrainian music and to justify the need for developing new methodologies for mixing and analysing three-dimensional sound. As a result of the study, it has been established that the object-based placement of sound elements significantly expands the artistic capabilities of production, enhances the emotional immersion of the listener, and opens up new prospects for the development of the music industry in the context of rapid technological progress.