ElectroAcoustic Music Sonic Art and Sound Sculpture. Musique Concrete / Concrète Music Tech Project

電気音響音楽 - 赤と黒。ソニックアートとサウンドスカルプチャー。ミュージック・コンクレート / コンクレート
Musique électroacoustique - Rouge et noir. Art sonique et sculpture sonore. Musique Béton / Concrète
Elektroakustische Musik - Rot und Schwarz. Klangkunst und Klangskulptur. Musique Beton / Concrète
Música Electroacústica - Vermelho e Preto. Arte Sônica e Escultura Sonora. Música Concrete / Concrete
ElectroAcoustic Music - Red and Black. Sonic Art and Sound Sculpture. Musique Concrete / Concrète
Música Electroacústica - Rojo y Negro. Arte Sónico y Escultura Sonora. Música Concreto / Concreto
Elektro Akustik Müzik - Kırmızı ve Siyah. Sonik Sanat ve Ses Heykel. Müzikli Beton / Beton

The sounds were mainly recorded in my home and also in and around Leeds.
This was part of my electroacoustic module for Msc Music Technology at Leeds Beckett University, Headingley, Leeds.

Recipe for Musique Concrète Sound Junction - An Introduction to Electroacoustic Music
Masterclass with Kevin Austin: Composition in the Contemporary Electroacoustic Studio
Electroacoustic Music Composition Final Project

Tools Used
Ableton and Protools.
GRM Tools was also set up in the university’s labs and found this the best area to work creatively.
Using automation the emergence and disappearance of sounds were sculpted over time. A
big influence on this was the noise-based elements. Sometimes they were playing too long
or becoming a bit static. Changing the volume/panning created movement, turbulence and
the flocking of sounds as they move in several directions together (Blackburn, 2010).
Morphological strings (Smalley 1986), were created when sound units were strung together
to create long audio phrases.
SoundHack– I mainly combined a number of sounds using the convolution and phase
vocoder feature on SoundHack. Some of the sounds were put through the application a
number of times to get more interesting effects.
Spear- The sound of a metal rod scraping across a beer keg was put into spear. I moved some
of the lower frequency information severely around the continuum to get unusual effects.
Density Light- Gestures were created my moving between pre-sets in the application in the
box provided

Many of my hours per week are spent behind a bar in the city centre. I noticed some interesting sounds in various areas of the building throughout the day. Be it the movement of beer kegs or kitchen fryers in the cellar and ice trays in the bar or a variety of drinking games such as shot
roulette and Jenga. A majority of my recording took place using a stereo handheld recorder in
conjunction with some sound recordings at home. A majority of the sounds in the bar were
suitable for a noise/texture-based piece due to them being a drone or textural in nature.
Using inspiration from pieces such as “Pentes” by Denis Smalley (1974) the structure of the track begins its journey from aural discourse (heavily processed sounds) to mimetic
discourse, revealing some of the original sounds and soundscape as it progresses towards the
end of the continuum.
“Identity of a sound object can range from abstract to mimetic, and its syntax from abstract
to abstracted” (Emmerson 1986). Mimetic sounds keep some of their original qualities, as
opposed to abstract which do not. Abstracted syntaxes are organised from ecological or
references taken from a chosen sound source, whereas abstract syntaxes are arranged with
some other formal principle in mind.
I used the sound of a ball spinning on a roulette wheel as the main feature of the track as I
found its cyclic/centric nature to be interesting in conjunction with its movement in the stereo
field. This sound was manipulated in many ways including granular effects applied with
Density Light and Ableton and abstracting the impulse when manipulating some of the
screeching/drone sounds using the convolution effect in SoundHack. I used the random
nature of roulette as inspiration to invoke tension in the piece. The roulette sound gradually
progresses from more aural discourse at the opening of the piece to more memetic sounding
as the piece progresses.
A large amount of Smalley’s pieces focus on individual sound-sources in conjunction with
aspects of their environment. These elements are used in collaboration with each other
towards creating an extended palette of meaning (O’Callaghan, 2011). Although it is not
soundscape piece, I included some of the environmental sounds from the river beside the bar
as the track progresses allowing the listener to focus on some natural sounds that can be
heard from the building.
In the words of Saariaho (1987), developing movements between tone and noise and vice
versa, is a prominent method to create and develop formal movements in various
electroacoustic pieces. It has be seen as replacement for the development of consonance
and dissonance in tonal music.