Studio Composition Part 1

1. Noise (time: 2’00 minutes)

• Explain the statement that “‘noise’ is a complex and ambiguous social category that is constantly being renegotiated” (up to 200 words):

Noise is a complex ambiguous social category that is constantly being renegotiated because of how broad the term ‘noise’ can be from person to person. The reason why it is broad is 

because a noise can be something irritating for some, but it also can be a great use or be labelled as music for someone else. For instance, if a person is trying to turn up the music to drown out a car alarm, it can be music to that person but that music could be something irritating for another person, with that it creates a ripple effect and as what Michel Serres a French philosopher says, noise is like a parasite it is inevitable. Noise like static and white noise could also be a distraction for some but It could be great use when a music producer decides to use those ‘noise’ as astatic creativity and incorporate it into their music. 

2. Glitch (2’00-3’00 minutes)

• Explain why glitch music is only conceivable in a world where music has become partly or wholly mechanised (up to 200 words):

Glitch music is only conceivable in a world where music has become partly or wholly mechanized is because the concept and birth of glitch is strongly tied to the growth of new tech savvy audience, the advance of a new software and the existence of new ways of distribution and communication online. For instance, the internet made rendering accessible for deconstructive audio practices to grow. That created a space for artist to experiment and use it in their music pieces for the audience to familiarise with its sounds for years to come. 

• Write 4 sentences describing your compositional process:

I first recorded the main melody with pads but to make it sound glitchy I added a vinyl saturation to add noise and scratches to the track. Sound effects are added next like laser beams, the humming of an analog tv and computer printer to enhance the overall song. For the rhythm section, I recorded a simple trap beat so that I could incorporate technological sounds like the fax machine tone and the dentist drill to fill up the spaces and make it a part of the rhythm section. Lastly, I changed the formant on some of the tracks to change the pitch and I also added the bit crusher plugin on most of the tracks to downsample it so it has that glitch effect. 

3. Ambient piece (length unspecified)

• Explain why is generative music more like gardening than engineering (up to 200 words):

Generative music is more like gardening than engineering because generative music is ever-growing and evolving. An ordinary music is engineered because it stays the same without evolving when it repeats and it only last for a short amount of time. For example, a chorus of an ordinary music repeats multiple times and it is not unusual to be precisely the same as the others by using the same instruments and vocal cuts. A familiar pattern or segment of a song like a chorus would not be found in a piece of generative music. Generative music is like seeds as it keeps growing from a simple melody to something bigger which can be made with algorithms. Software based generative music system offers an opportunity for listeners to experience the joy of listening and creating music that will never be heard in the same way before.  

• Write 4 sentences describing your compositional process:

I started off with the piano and pads with the tremolo plugin turned on to give it some movement. Then, I added soundscapes like the wind to fill up the space in the track. Next, I want the ambience track to evolve by telling a story, so I did some volume automation to the rain and jungle sounds. Lastly, I added a good amount of reverb to the piano track because I didn’t want it to stick out too much in the mix.

4. Dance Music Listening Bodies (2’00-3’00 minutes)

• List the ‘five elements’ used in your piece and the frequency zones they are designed to be operative in (up to 200 words):

The first element that I used was the sub basses. The sub basses are in the 40 Hz pelvis range, I added an additional boost at that frequency and cut the unnecessary frequencies to make space for the other elements in the track. The next element are the claps which is in the 800 Hz torso range and it is panned left and right to fill up the stereo field. The third element I used for the 1000 Hz throat range are the vocal shouts in the track. The fourth element I used in the 5000 Hz forehead range is the Ice synth. The synth also sweeps from the 5000 Hz range to the 2000 Hz range. The last element I used was the static electricity topper and it is in the 10,000+ Hz forehead range. 

5. Live Electronics (2’00-3’00 minutes)

• Explain how gesture and improvisation are relevant to the idea of ‘liveness’ in electronic music? (up to 200 words):

Gesture and improvisation are relevant to the idea of liveness in electronic music is because it is made and performed in a less controlled environment. Most types of music contain some amount of improvisation in their performance or creation, and it is often distinguished as a spark which brings liveness to the music for both the performers and the audiences. There is also room for imperfections as it is not tied to a structural process which makes it seem ‘alive’ and real to the listeners and the performer. Experimented composition in live electronics identifies its uniqueness by establishing the freedom of gestures generated in the moment of a performance and it makes music come ‘alive’ even more with the added movements from the performer. 

• Write 4 sentences describing your compositional process:

The first step to my compositional process was to map and plan out which filters I am going to use and test out the filters to familiarize myself so that I will know how it affects the sound. Next, I hit record and played a sustain chord on a retro synth while affecting the sound with the filters like the modulation, enveloper and the vibrato. After the first recording process is done, I did a second live automation over it to add different textures using guitar amps and a fuzz wah. Lastly, I added eq automation to the track and also the volume automation to fade out. The ‘live’ element in my live electronic track is using the live automation tool because it creates freedom while giving me the room to experiment, improvise and grow with my track. 

6. Plunderphonics (2’00-3’00 minutes)

• Explain how your track is a “statement against any well-established social or political structure, value-system, or issue” (up to 200 words):

This track is to highlight the issue on sexual assaults and toxic masculinity. This piece is based around Donald Trump’s lewd comments made about women, Trump’s rape allegations and Trump’s social status which fuels his toxic masculinity. The song is chopped in a way to show Trump’s view on women and how a woman should behave. Some words like strength and mind are distorted because I wanted to bring the meaning of oppression and what happens when women are only viewed as sexual objects. This piece is also against the well-established social class of the rich and famous and how power is used to suppress a person.

• Write 4 sentences describing your compositional process:

My compositional process begins with me chopping up Trump’s interview parts and planning out the concept by skimming through the lyrics from the Christina Aguilera’s song, ‘Fall in line’. I added some fx sounds in the beginning and the end of the project to make it seem like the whole track is being played through a tape recorder. Next, I added volume automation and a plugin automation to control the pitch shifter turning off and on when certain words come up in the song. Lastly, cross fade was added to smoothly transition from one track to another and a slow-motion fade for creative purposes. 

7. Soundscape (2’00-3’00 minutes)

• With reference to Truax provide a definition of ‘soundscape composition’ (up to 200 words):

Soundscape composition is a form of electroacoustic music, described by the presence of identifiable environmental sounds and situations, purpose being to involve the listener’s relations, imagination and memories linked to soundscape. This simple application of capturing environmental sound by extracting it out of its background, where often it is being brushed off, and directing the listener’s attention to it in a public demonstration, meant that the compositional method involved was minimal, using only selection, simple crossfading and editing. This use of material recognized one end of the field occupied by soundscape compositions, specifically those that are the nearest to the original environment. Barry Truax compromises four divisions of the characteristics of soundscape compositions. The first point is that the listener recognizability of the source material is preserved, even if it undergoes changes. The listener’s understanding of the environmental and psychological context of soundscape is encouraged to complete the meanings ascribed to the music. The composer’s understanding of environmental and psychological context is permitted to influence the shape of the composition at every level and is inseparable from some or all of those aspects. Lastly, the work improves our understanding of the world, and its influence carries over into everyday habits. 

• Write the location and idea behind your soundscape:

The location of my soundscape is in an urban setting, outside of my house. I wanted to record the sounds of life and the prominent sounds that one would hear after the rain has passed.