April 15, 2008
Create 5 sketches which use delays or repetitions on a scale of 1 – 250 milliseconds, and 5 on the scale of 250ms – 10 seconds.
I didn’t follow this format very strictly. However, I made some ‘evocative’ sounds:
April 14, 2008
Remaking an image one photo at a time.
A single image is chosen, and broken up into fragments. These fragmented images in turn printed onto cards. Participants take a card and, in exchange, are asked to recreate the image they see on the card, taking it with their camera phone, and either MMSing to an email address or uploading it on the mobile web. The submissions can be viewed online, where you can compare the original and its recreation.
April 8, 2008
Create 5 sketches of extremely short pitched sounds. Play with the boundary of your ability to perceive the pitch of the sounds. Create 5 more sketches of sets of multiple short sounds (use those generated in the first sketches if you like).
Some short sounds:
For the next part of the project, I used an external Max module (FileplayerBP). This let me play back a set of pre-existing sounds files in a random order. I used the short sounds I’d already generated, and generated multiples that way (I also altered the delay between the sounds – in the last few, it gets shortened every time).
April 5, 2008
- Prepare for in-class sketch performance next week. This week you will be assigned on of the following three images to serve as your score: John Cage’s signature, a William Anastasi drawing (made on a subway trip to play chess with Cage), or this mushroom print.
- The manner in which the image becomes the score is up to you, and can be automated or interpretive. Performances will be given as trios (1 player for each image). Prior to class post one sketch of a sample of your work.
For my “image analysis” performance, I was assigned the mushroom print. For my analysis, I typed out the paragraph of text from the website which describes the process of creating the print, and used the ascii values and keycodes of the text as variables in my Max patch. The ascii code was the ‘x’ value, and the keycode was the ‘y’, and those co-ordinates were used to return RGB values (to make sure I didn’t receive a limited range of values, I kept an iterated character count as I typed, and added this to the variables). These RGB values were in turn fed into “cycle~” objects, each value as a different frequency (so, basically, I did some really simple additive synthesis). Lastly, trying to add a little more variety (though I kinda regret this now, I think it ruined the, ahem, ‘conceptual purity’ of the exercise), I did FM synthesis, creating a frequency ratio using the same x and y values, and iterating the amplitude of the modulator. This made my sounds more squelchy. The effect was meant to slowly grow over time (mimicking the mushroom layers), but in practice it was noticeable a little too soon.
March 23, 2008
March 11, 2008
I BELIEVE THAT THE USE OF NOISE TO MAKE MUSIC
WILL CONTINUE AND INCREASE UNTIL WE REACH A MUSIC PRODUCED THROUGH THE AID OF ELECTRICAL INSTRUMENTS
Otto Leuning – Low Speed (1952)
For Low Speed, Luening made sketches on which he based his flute improvisations. He transposed the first recording an octave lower, and successive versions each a fifth higher than the initial recording. Feedback produced a kind of unearthly, ghostly counterpart of the live flute.
Burial – Forgive (2006)
“The sound of a truck at 50 m.p.h. Static between the stations. Rain. ”
WHICH WILL MAKE AVAILABLE FOR MUSICAL PURPOSES ANY AND ALL SOUNDS THAT CAN BE HEARD. PHOTOELECTRIC, FILM, AND MECHANICAL MEDIUMS FOR THE SYNTHETIC PRODUCTION OF MUSIC:
John Cage – Williams Mix (1952)
Cage’s first composition for tape recorder already goes to the limits of the medium. Commenting on his score, Cage explains: «This is a score (192 pages) for making music on magnetic tape. Each page has two systems comprising eight lines each. These eight lines are eight tracks of tape and they are pictured full-size so that the score constitutes a pattern for the cutting of tape and its splicing. All recorded sounds are placed in six categories … Approximately 600 recordings are necessary to make a version of this piece. The composing means were chance operations dervied from the I-Ching.
Akufen – In Dog We Trust (2002)
“organization of sound.”
WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS.
Wishmountain (Matthew Herbert) – Golf (1998)
Disco Inferno – Starbound (1994)
“the emphasis is on the group and the integration of the individual in the group.”
Hugh Le Caine – Dripsody (1955)
Autechre – Acroyear2 (1998)
“The “frame” or fraction of a second, following established film technique, will probably be the basic unit in the measurement of time. No rhythm will be beyond the composer’s reach.”
THE PRESENT METHODS OF WRITING MUSIC, PRINCIPALLY THOSE WHICH EMPLOY HARMONY AND ITS REFERENCE TO PARTICULAR STEPS IN THE FIELD OF SOUND, WILL BE INADEQUATE FOR THE COMPOSER WHO WILL BE FACED WITH THE ENTIRE FIELD OF SOUND.
AND PRESENT METHODS OF WRITING PERCUSSION MUSIC:
Ricardo Villalobos – Ichso (2007)
“Any sound is acceptable to the composer of percussion music; he explores the academically forbidden “nonmusical” field of sound insofar as is manually possible.”
AND ANY OTHER METHODS WHICH ARE FREE FROM THE CONCEPT OF A FUNDAMENTAL TONE.
THE PRINCIPLE OF FORM WILL BE OUR ONLY CONSTANT CONNECTION WITH THE PAST.
Matmos – For Felix (and all the Rats) (2001)
AND MAN’S COMMON ABILITY TO THINK.
March 11, 2008
Find at least three unique noise sources (math, recordings, etc.). Generate 10 sketches in which you explore noise in its various forms.
samples, randomly played -
crumple (using pink nose object)
2. Technique: using Java, set up a camera to record the ‘noisy’ pixels found in black space.
3. Technique: Noise made up of even numbers only.