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This article explores multichannel sound and hypersonic audio and investigates the impact that cinematic technologies have had on our sonic perception and appreciation. The core methodology of these explorations has been through practice, and the evolution of a 7.1 surround sound and
hypersonic composition and installation: auditoryum (Sarah Atkinson and Marley Cole, 2010). Through reflection upon this practice, this article addresses the ways in which auditoryum has foregrounded and extended theories of the soundscape and aural architecture. It will also discuss the impact
of audio-related technological developments on soundtrack and sound design aesthetics, principles and practice.
The Soundtrack is a multi-disciplinary journal which brings together research in the area of music and sound in relation to film and other moving image media. A complex cultural, technological, industrial and artistic phenomenon, sound-with-moving image is a rich area for analysis, investigation and speculation. We encourage writing that is accessible to audiences from a diversity of intellectual backgrounds and disciplines as well as providing a forum for practitioners. The Soundtrack's aim is to nurture this new and expanding area of academic investigation in dialogue with soundtrack producers of all kinds.