Price: $20 for 8x250 words blog.
Length: 250 words
These are responses to the questions given each week, and should show critical engagement with the readings and explorations. You can take a personal approach to these post, rather than to use a formal essay approach -
1) Listen to the following two pieces:
Bidule un Ut (Thingumajig in C) - Pierre Shaeffer and Pierre Henry - 1950 - [url removed, login to view]
This is a vinyl recording of the original work, with spectral analysis and waveform visualisation added by Art Sonores.
Di Vaga Crepa, Di Gelido Futuro (from 'Vixit' LP) Valerio Tricoli - 2016 - [url removed, login to view]
This was made using samples from a recreation of the futurist noise instrument the 'intonomuri', with homemade synthesisers. It is recorded from a vinyl-only release on the Second Sleep label (SS066).
Now, compare the use of the sound object in these pieces. Briefly reflect on the compositional role of the sound object in relation to one (or both) of the supplied readings.
2) Listen to the following piece:
Lantern Marsh - Brian Eno (1982) - [url removed, login to view]
Q. How is the sound object used in this work? How is a sense of space created?
3) Below is an excerpt from Gust Van Sant's 2003 film 'Elephant' using Beethoven's Piano Sonata No. 14 in C Sharp Minor, No. 2 Moonlight - Adagio Sostenuto mixed with Tueren der Wahrnehmung (Doorways of Perception) by Hildegard Westerkamp -[url removed, login to view]
And here is a section from Westerkamp's original composition - [url removed, login to view]
Q. Referring to the readings and/or explorations for week 4, discuss how Westerkamp's composition was used. What does it contribute to this scene?
4) Choose any song and provide a link to it. What do you notice about the way this was mixed?
5) The following is a video derived from the video artwork Modell 5 by Austrian duo 'Granular Synthesis' - [url removed, login to view]
From the website:
"from a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain. The semantic void is too loud to be amenable to meditative reception. The frontal images, the rhythmic structures generate contradictory emotions and great strain. Entertainment is offered and almost violently denied. At the highest level of energy, enjoyment reaches the limit."
Sample session performed by Akemi Takeya. Edited on various AVID Suites in England and Austria between 1994-96.
Produced by: Mike Stubbs, at HTBA (Hull Time Based Arts) in Hull England.
Co-produced by PYRAMEDIA Vienna.
Question: What is the role of microsound in this work?
6) Choose any music video and provide a link. Drawing on the readings for this week, discuss the effects of synchronisation (or otherwise) between sound and image.
7) This is the opening to Ridley Scott's film Bladerunner (1982), performed by Vangelis - [url removed, login to view]
Reflect on the relationship between the sounds and images. Why do you think synthesised sounds were used for this film?
8) Choose a piece of music from a film, tv or game and briefly discuss the sonic narrative. How does the composition use referential, representational or abstract elements?
Where referencing is used it should be accurate. You can use any style that you are familiar with as long as you are consistent, although we recommend Harvard. All work should be Original.
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