Everyone needs to be adequately represented (in the final product)
Adhere to each other's strengths AND weakness’
Be mindful of each others mistakes, be critical but positive!
Invest time, energy, and love!
-For first meeting: bring examples of music you’re into (where you can see the style being incorporated into our performance); also what aspects of the exhibit speak to you personally
-Experiment by making music together, start to develop a sonic idea
-Begin to blueprint the piece and form a DETAILED design
As a team of musicians and producers, we want to create a fluid composition that challenges the ears of the listener. To do this, we thought to create a piece which smoothly transitions from recognizable music (meaning detectable genre/sound) to unrecognizable (indicating no form, tonal center, or cadence). We hope to make the audience feel uncomfortable
Week 5 Blog Post
Three possible directions we can take with our project are as follows:
- Centering the performance around the journal text and manipulation of that text
- The pros of this approach are that it creates a clear and understandable connection to the exhibit (from the perspective of an audience member). It is also relatively easy to construct a musical narrative that is based on our choices of included text
- One possible con would be that it can be easy for our group to become too reliant on using the text to convey meaning rather than the music itself.
- This approach presents the opportunity and challenge of finding various ways to keep the presentation of the text interesting, i.e. speaking it normally, sampling it, amplifying and live processing it, etc.
- The following audio example is a group improvisation that features narrated text along with an underscore-like sonic texture
- Disrupting instrumental expectations (i.e. saxophone not playing jazz, guitar not playing rock/blues/metal, MPC not playing pre-constructed or improvised 'beats')
- This approach can be rewarding because it allows us to demonstrate the full range of each instrument's musical capability
- We would not want the entire piecee to sound this way though, because once we've started with this concept the audience will begin to expect the rest of the piece to be "one of those" weird contemporary pieces
- We will need to find an appropriate balance between implementing both expected and unexpected instrumental sound worlds that doesn't come off as contrived
- The first excerpt here is a 'jam'-like improvisation, with a guitar solo playing over a pre-constructed beat by the MPC. This falls within the realm of what the audience may expect to hear. There are some unexpected outbursts of chaos - we'd like to develop this idea further. The second excerpt features the MPC used in an abstract way, to manipulate samples into ambiguous, un-recognizable versions of themselves (while simultaneously interacting with unusual instrumental sounds)
- Emphasizing the non-linearity of time
- Again this is a potentially clear connection to the concept expressed in the exhibit, along with the journal texts
- The challenge with this approach is finding a way to seamlessly transition between different styles representing different periods of time, and organizing these transitions in unpredictable ways (sometimes jump-cut, sometimes, gradual, differing lengths of sections, etc.).
- Also, this needs to be implemented in a way that can be easily understood as a reference to the concept in the exhibit, otherwise we risk the performance being unintelligible (this could serve as a double-edged sword, however, in the performance behaving like a 'hoax' for audience members who don't understand the connection)
- The last audio excerpt is an improvisation in which we transition between a few different sound worlds.