Week 4 - David Harris Composition

CREATIVE COMMUNICATION

What I found interesting is 'zero crossing'. I've never really thought about it. If there is a glitch I generally try and fade the sample in or out to get rid of the problem. I will look into using 'snap to zero' option now.1

The other thing I found interesting was about normalisation and leaving some headroom. I don't normally do this but I think I will start trying to normalise only to 90%. 2

AUDIO ARTS

This was interesting because I volunteered to set up the studio. I forgot some things but remembered eventually. It's not that hard. Good to learn more. I wish we had more than 50 mins a week on that stuff. I find it frustrating that we have such a limited time. I would rather skip classical theory and spend more time in the studio. But I know the theory is good and I should grit my teeth and do it.

DAVID HARRIS - Workshop

I arrived part way through because I got held up at work. I came in on Jack Vees composition "Surf music II". 3

http://www.leisureplanetmusic.com/composer/vees/bio.htm 4

I didn't know it was called surf music but I had this image in my mind of sand dunes and the ocean. A bleak and desolate location. Windswept. Seemed like a nice place, far away from other people!

While I was listening I came up with a new instrument. I am going to work on its design and implementation. All I can say is that instead of picking up the instrument and playing, you will have to climb inside it to play it. Essentially the performer will be required to become the 'heart' of the instrument.

FORUM

David Harris' "Piano Piece '91" was interesting. I wrote a similar composition last year where I hit two keys on the keyboard as hard and fast as I could. I did this twice for two minutes and then blended the result. I really enjoyed the melodies and harmonics. That's what I enjoyed about Dave's piece. 5

I am relieved to see, and hear, that composers seem to be free to do whatever they want. I was afraid that I would end up composing classical music if I studied composition at Elder Hall.


1. Christian Haines. "Creative Communication." Lecture presented at University of Adelaide, 23/03/2006

2. Ibid

3. Jack Vees. 1982. "Surf Music II." CRI/Emergency. CD 730

4. Leisure Planet Music. "Jack Vees Biography." Date accessed 03/04/2006

5. David Harris. "Piano Piece '91". Performed by David Harris. EMU space, University of Adelaide, 23/03/2006

Week 3 - Gordon Monro

Whilst Gordon's talk was interesting I couldn't help but think how I'd like to hear a presentation from a composer who has less to do with numbers and more to do with music. It seems the last three presenters have all been more into sound, noise and numbers. It's good to have diversity and I have learnt a lot from all three of the presentations.

I've noticed a lot of people mumble that they are not liking the content or music presented. I have enjoyed it all. I can't help but think it's good that people don't enjoy everything. Why do we have to enjoy music anyway?

I found Gordon's second piece that he played for us interesting in that the visuals didn't seem to fit with the music. I'm referring to 'Red Grains'. 1
The one with the Lego and lasers. The visuals were quite fiery and terrestrial. Whereas, the music made me feel like I was in a cave at the beach watching moths flutter around R2D2.

WORKSHOP

I found Glen Branca's 3rd Symphony titled, 'Gloria,' to be an interesting exploration of the physical manifestation of symmetry and form by exploring the relationship of dissonance and consonance. The overtone series is something now that I am keen to explore myself. 2

Here is a link to a biography of Glen Branca -

http://64.233.179.104/translate_c?hl=en&sl=de&u=http://mitglied.lycos.de/RaFuchs/jazz/branca/index.htm&prev=/search%3Fq%3Dglen%2Bbrancas%2B%2B%26hl%3Den%26lr%3D%26rls%3DGGLG,GGLG:2005-43,GGLG:en 3

The other work played I didn't even bother to write it's name down. I just didn't like it. I found it boring and annoying.

Creative Communication

The key thing I learnt from the CC class this week was about 'ORGANISATION'. 3 How important it is to have all files, samples and tracks in their respective folders, correctly labled and categorised for efficient retrieval. I look at how disorganised my HD is and I think I really should do something about it. I've ordered an educational copy of Cubase SX. I'm pretty keen to get my hands on it.

http://www.steinberg.net/35_1.html 4

Audio Arts

I haven't had much to do with Patchbays before so it was a good lesson on learning about the different aspects and applications of them.


1. Gordon Monro."Artist Talk." Lecture presented at Electronic Music Unit, EMU Space, University of Adelaide, 16/03/2006

2. Glen Branca, Symphony no. 3, "Gloria". CD

3.Christian Haines. "Creative Computing Lecture." Lecture presented at University of Adelaide, 16/03/2006

4. Cubase SX 3, Home » Products » Music Production » Cubase SX3, Date accessed 03/04/2006

Please check out my other posting:

http://veritas-nunquam-perit.blogspot.com/

I have set this up so ALL comments left will be anonymous. I am writing a composition for a sound installation based around people's secret desires and/or secret acts. The plan is to get a group of people to read them out while I record them. That way your privacy is respected, but you still get to be a part of the creative process without fear of retribution or embarrasment. So please tell me your secrets. Think of this space as a 'virtual confessional booth'. I promise, no Hail Marys! Thanks,

Week 2 - Warren Burt

Warren Burt (Composer, Sound and Visual Artist)

I was absolutely gobsmacked by the unrelenting staccato pace at which Warren cogently articulated his nearly 40 year career in music technology. I get the feeling that he only showed us a snippet of what he has been up to.

I would like to hear some of his compositions. It seems the works presented at the forum where mostly about chaotic patterns, random permutations, and his exploration of new scales and their numerical interrelationships. I wonder if he involves himself in narrative works, or prefers the abstract avant garde experimental arena? 1

I hope we get to spend as much time taking boards apart, removing transistors, smashing them with a hammer and seeing what happens. I liked very much his fearless approach to exploring sound. How nothing was sacred, off limits or to be censored. Definitely a radical, and a lively character.

I really enjoyed his photo journal. A highlight was some of the installations he’s created that involved connecting pretty much anything together to see what sound would be created as a result. I wonder, though, if he considers some of his more abstract creations more ‘art’ than ‘music’?

One particular example that stands out is the calculator that was connected to a transistor radio, that was connected to a sampler, that was connected to an effects module. I have had thoughts to do stuff like that, but never thought of it as anymore than fantasy. 2

One phrase that he repeated a few times was how he was interested in using ‘movement to influence sound to influence movement’. The example is of the parabolic microphones at the beach and the choreographer dancing while recording the sounds picked up. Then later choreographing a performance based on the sounds recorded at the beach. 3


I owe a lot to people like Warren and Robin. They have entertained their wildest fantasies in an attempt to create an expressive, interactive and organic musical experience(s).

I am envious of his experiences. It seems us neophytes who are really at the beginning of the digital age have missed out on a wonderful era of analogue. Perhaps not? But it does seem that we owe a lot to pioneers like Warren who really have been there since the start.

I spent Friday night wandering round town with a microphone hanging off my handlebars. I even managed to record an accident I had on Morphett street bridge. I was walking around town trying to get people to indulge me by revealing their deepest fantasies or secrets. Perhaps I would be more successful if I dressed like a priest and had a mobile confessional? One woman did go into explicit detail about the Feng shui approach to choosing underwear. Even going to the extent of pulling her pants down to show me what she was talking about. A microphone opens doors!!!


Audio Arts
As we get more familiar with the studio and its components it becomes clear how much I don't know, but at the same time, how much I am going to know. I am a disappointed at the amount of time each class is allocated. I am so interested in this stuff that I feel like fifty minutes is not enough time. The lecturers are always running off to another class or meeting. It's hard to contact someone. Email is conveniant , but I am afraid it is destroying human interaction.

Creative Communication

In the last week I've splurged a bit and updated my studio. The last couple of years I've been on the move constantly travelling so having anything more than a laptop and headphones has been unrealistic. I've indulged my appetite for electronic equipment and boosted the share price of roland by investing in some:

DS-90 monitors -

http://orangecounty.craigslist.org/msg/143437604.html 4

and a VM-3100 mixer -

http://www.platinum-records.com/ROLAND-VM3100-prod6141.htm 5

Now I just have to spend some time navigating the digital underworld of the display screen.

I love playing around with sequencers and synths, especially jamming with other people to see what comes out of it. I find this more stimulating than working on something myself. To me that is what it is about, dialogue/ communication.

1. Warren Burt."Artist Talk: Composition, Sound and Visual Art." Lecture presented at Electronic Music Unit, EMU space, University of Adelaide, 9 March 2006.

2. ibid

3. ibid

4.orange county craigslist > musical instruments > DS-90 Powered Digital Monitors by Roland last modified: Sun, 19 Mar 22:31 PST. Date accessed 03/04/2006

5. "Home > Studio Gear > Multi-track Recorders.> ROLAND VM3100." Platinum Records Light and Sound. Date accessed 03/04/2006.

Week 1 - Robin Minard

ROBIN MINARD (Sound Installation Artist)

The first thing I found interesting about Robin Minard's presentation was his interest in public space installations in reaction to widespread use of Muzak in the subways of Montreal.1 He didn't really explain if he had conquered the subways 'aural abuse' of it's passengers by installing his preferred soundscape. I wonder what they play today?

The second thing I noticed was his exploration of 'non-narrative' compositions. I too, have a personal interest in non-narrative compositions. He seemed to be involved in variety of projects that involved laborious and tedious set-up procedures. An example, is connecting 2500 1-bit speakers to 3km of speaker cable. I think he said it took 3 days to assemble! 2

In the piece he played, I enjoyed the slow build, the almost imperceptible changes that occurred as the track built up gradually. Another thing that was stimulating was his approach to colouring spaces with sound. How sound could be used change the emotional and psychological experience of an individual once they had entered the field.

I found it incredible, his handwritten work on frequencies and harmonics.3 The detail and intensive labour involved was fatiguing. There are probably 100+ software bundles, that today, could simulate the work he carried out 2 decades ago.


CREATIVE COMMUNICATION

This class seems like it will get better once we endure the process of learning how everything works, where things are located and what they are capable of doing. I feel, that at the moment, I am going to enjoy this aspect more than the audio arts component. That may change. I am looking forward to learning more about both aspects of MT. I really enjoy getting into software programs and sequencing MIDI.

AUDIO ARTS

I am definitely interested in learning more about live and studio recording, mixing, producing and mastering. At this point in time I don’t really have an interest in forging a career as a producer or engineer. I would much rather spend that time working on my own projects. Still it is a massive field, I am excited to studying how to get that ‘million dollar sound’!



1. Robin Minard. " Artist Talk - Sound Installation: art and practice." Lecture presented at Electronic Music Unit, EMU space, University of Adelaide, 2 March 2006.

2. ibid

3. ibid