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listening and critique: ambient soundscape (Project 2)

listening and critique: ambient soundscape (Project 2) Draw what you hear as you listen to each person’s piece. Compare your drawings, and let them guide your discussion about what you heard and what kind of space was created through the sounds.

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listening and critique: ambient soundscape (Project 2)

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  1. listening and critique: ambient soundscape (Project 2) Draw what you hear as you listen to each person’s piece. Compare your drawings, and let them guide your discussion about what you heard and what kind of space was created through the sounds.

  2. LIVE RECORDING/PERFORMANCE[listed as Project 8] criteria **floating project** Timing of this project is open to the opportunities available. CHOOSE: a) Record a band playing live on the MICA radio station [radiowicv.com], setting up multiple microphones and running the mixing board. Adjust EQ and effects as necessary, and mix prior to submitting the recording. **Contact a WICV DJ to schedule a live recording session** b) Perform in a collaborative group set of live electro-acoustic music on DEUS EX MACHINA music series [ambient/experimental] **Friday, 10/21, 9 PM**

  3. Recording a band in the B207 studio • Look for a schedule listing bands to perform on the air on the website of MICA’s radio station, WICV [wicvradio.com] • Find a musician or band that you would like to record, and contact the DJ for the show on which the band is scheduled to perform live. • Determine what instruments are involved and check out all necessary mics and cables. • Arrive at least half an hour before the band is scheduled to perform, and test all mic signals beforehand.

  4. graphic scores

  5. roman haubenstock-ramati

  6. christian wolff

  7. anthony braxton

  8. karlheinz stockhausen

  9. CINNAMON TRIANO

  10. KATIE BALL

  11. MIKE SERGONIS (view with syncronized sound from performance on Vimeo.com)

  12. See a scrolling animation of the score here. • GYORGY LIGETI - Artikulation • graphic notation for a piece of electronic music (after the fact) as a listening guide for study

  13. WILL REDMAN - Book • [available for download at bookmusic.org] • hybrid of traditional music notation and abstract designs, open to any interpretation by the performers

  14. texture relations between different layers of sound • Monophonic - one layer, or singular sound focus • Polyphonic - multiple layers of sound, also known as counterpoint • Heterophonic - multiple simultaneous versions of a single sequence of sounds (e.g. multiple voices singing the same song with slightly different timing and embellishment)

  15. GRAPHIC SCOREProject 3 criteria • Utilize any method of graphic notation on a page to indicate a sequence and combination of sounds to be performed. • Traditional music notation will not be used, but a small amount of verbal text may accompany your visual symbols or abstract drawings. • Establish what instruments/sound sources will be used, and let particular sound qualities of those sound sources guide the symbols/drawings that you assemble. • Choose either: A) Write out individual parts for the performers, with explanatory text for any specific symbols. Include time-frames for particular sequences of action- all performers will refer to a central timer displaying minutes and seconds elapsed from the beginning of the performance. Or... B) Create a single score that everyone will read from (either printed out for everyone or projected. You will either provide guidance as to how the performers should respond to each other and the written score, or conduct the performance by cueing particular moments with gestures that you will explain. • 2 - 4 minutes long.

  16. basic setup for our graphic score performances: reel-to-reel tape mic 1 mic 2 theremin (send/return) mixer kaoss pad You decide what materials are performed into the microphones. Bring any specific sound sources that you require beyond the ones provided above.

  17. dry/wet knob Y X

  18. in-class work • Split into groups of 3 or 4 • Each group plans and draws a graphic score on a large sheet of paper (take 15 min.) • Each group trades scores with another group, plans a performance interpretation • Perform scores (1-3 min. for each score)

  19. journal #3: Describe your approach to creating a graphic score. To what degree are you trying to express something, or suggest a specific overall sound? To what degree do you want to create an indeterminate array of sounds, or allow open interpretation by the performers?

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