baek

01


02-1


02-2

01 Kong’s Journey

There is an imagined insect ‘Kong’ which is a bean in Korean and this imagined insect is as small as a single bean. The imagined insect ‘Kong’ hatches out and it creeps outside. Someday, Kong will learn how to fly through his parents. When Kong flies in to the field, Kong encounters his first human being, and considers this giant as a monster. Accidently, Kong flies to the ear of a person and Kong begins to travel inside his body. Kong flies through the long ear canal, and then he meets a blood vessel. The fast current of the blood ultimately drowns him to death. This piece is divided into three sections, outer world, inside the ear canal, and the section in the vessel. I focused on the effects to differentiate the environment Kong travels in his life.

02 Contrast
This piece consists of two movements, Fire and Water and Korea and America. I focused on two contrasting things in each movement. The first movement is based on only Audio files about fire and water. The second movement is combined by Audio and MIDI files.

02-1 Fire and Water
The first movement is based on Audio files of fire and water. The most natural thing is nature, and fire and water are elements with two very distinctive characteristics. A binary section is ordered by fire and water. At the end, the combination of fire and water comes. As adding effects, expressed various fire and water sounds.

02-2 Korea and America
Korea and America have to different characteristics among the people. Being a small country surrounded by powerful empires throughout history, Koreans learned to survive through unity of the people. Many Korean traditions do not only include one family, but mostly includes an entire town. Even during the 2002 FIFA World Cup, one tenth of Seoul’s population cheered together in the city plaza. On the other hand, America is more focused on their city and state, with more family based traditions. The second movement contrasts with these contrasting ideals. This piece consists of the A section of the footsteps and the B section of the accapella. Both sections start together but it gradually separates from each other.

brown

01


02

01 An Insect Operetta

This sound narrative tells the story of a peaceful meadow where a baby cicada is about to be born after a long 17-years underground. The overture is simply the sounds of the field, slightly effected and displaced ever-so-slightly to create a more natural echo sound. Within the overture, we already hear the crickets, but there is also a brief disruption in the form of buzzing (flies, bees, and mosquitos), who act as the antagonists in this small-world drama. The crickets speak in an almost heartbeat-like rhythm until the birth; when the cicada finally cries out, the others cheer, only to be interrupted by the buzzing insects who have taken the new cicada. The crickets and cicadas call for reinforcements, as well as some helpful mosquitos and immediately follow in pursuit. After catching up, a battle ensues around a bug zapper, a cacophony of sparks sounding. In the wake of the battle, the baby cicada cries out, answered by the remaining crickets and cicadas--the piece closes with the same opening meadow sounds, peace restored.

A sampler instrument was utilized for the purpose of creating a more chaotic battle sound. The buzzing and zapping sounds were broken down into smaller fragments and played at random to give a stylized, hectic sound. All sounds were located at FreeSound.org.

02
Winning: A Drug Called Charlie Sheen

This piece pays direct homage to two contemporary American works: Jacob TV’s The Body of Your Dreams and Kyle Gann’s Long Night. TV’s music brings together many different samples from exercise infomercials and uses the piano as a means of melody and rhythm by mimicking the pitch and rhythm of the audio recordings. Gann’s music, for three pianos, creates a really unique poly-rhythmic world as each piano interweaves and develops subtly developing cross patterns.

Here, I have taken the basic idea from Body by creating a very simply rhythmic and melodic idea from the very beginning audio material and develop it throughout in the piano voices, but I never regulate a precise time signature, allowing for the poly-rhthms/cross-rhythms to be free (the ostinati fall as naturally as they can in this fixed environment).

The sampling is taken from the rather abrasive/controversial/entertaining interviews given by Charlie Sheen over this past year. Ranging from his now infamous statements, such as being a drug, having tiger blood in his veins, and living with multiple girlfriends (whom he calls the Goddesses), Sheen’s voice seems perfect to be both a simultaneous symbol for what people like to focus on in entertainment as well as a symbol of absolutely nothing (“Just enjoy the show”). The one snippet of laughter in the opening of this piece is not used again because I want to allude to his time on Two and a Half Men, hence canned-laughter (especially a child considering the statement he makes), but never bring it in again as it was Sheen’s lifestyle that many blame for him being removed from the show.

dichirico

01


02

01

I chose to base this composition on a text/story. I decided to use the introduction of Dante Alighieri’s “Divina Commedia” (Divine Comedy). This very popular epic poem was written in 1300 and describes Dante's travels through Hell, Purgatory, and Heaven; but at a deeper level it represents allegorically the soul's journey towards God. The lines you hear in Italian (Italian actor Vittorio Gassman recites them) are from the beginning of the poem: Dante himself (which is the narrator) is in hell and feels “lost” in a dark wood assailed by beasts (a lion, a leopard, and a she-wolf) he cannot evade, and unable to find the "straight way" (diritta via) to salvation (symbolized by the sun behind the mountain).

In the composition I tried to imagine and re-create hell using several audio tracks; it is a quadrophonic piece: the narration, as in the poem, is in first person so I imagined Dante himself walking in hell while reciting the poem. The audio track with the voice is in Stereo instead of Mono and it’s always in the middle (sounds/noises move around it).

Most of the work was researching and manipulating sounds that would give the impression/idea of hell (I used things like bells, low pitched lions, voice reversed etc.). Placement of the sounds and use of DSPs such as reverb, delay, distortion (and automations) was also important.

Lastly, I think it would be a very interesting “experiment” to have the whole poem (which is very long) recited and “accompanied” by sounds/noises (so to re-create what Dante describes) in a quadrophonic (or 5.1 etc.) setup instead of the traditional orchestra and narrator on stage.

02

For this “free” Composition I decided to make several ESX Sampler Instruments based solely on sounds derived from metallic objects. I spent a lot of time finding sounds from several sources (I used Freesound.org and took some .wav files from old cds with sounds) and creating Sampler Instruments (about 15) that could be helpful for this composition.

The piece sets up an “atmosphere” (I used several DSPs and automations) and has a more rhythmic part in the middle section so there is some kind of ABA form in this piece.

gilna

01


02

notes: hardcopy only...

grover

01


02

01
Growing up as kid, we all have come accustom to the fairy tales and stories that we are told. But have you every really listened to them for how obscure the plots really can be? Let’s take the Three Little Pigs for instance. There are three pigs, two of which get eaten by a wolf and then the third one finally eats him. With this composition, I was aiming to share the truth of the big bad wolf and really scare the audience. After all….he is a big scary wolf in the story isn’t he? So, I altered the original audio file of a British lady telling the story to better fit a more…”realistic” terrifying perspective on the story. I’d be surprised if any kid could sleep well after hearing this before bed.

02

This piece was composed with the intention of creating motion and change through transitions in the piece that I shape together to introduce and layer different parts. It is a kind of meditation music where I am just trying to keep the listener’s ear busy but at ease at the same time. I wanted to keep the piece inside the realm of “traditional popular” music with my mix, Therefore, I did not use any MIDI drums. To make up for this, I used delays on guitars and focused on the change of my strumming pattern to create a variation in texture depending on what rhythm was dominate in the section at the time. I hope you enjoy!

knoeckel

01


02

01

For this project I wrote a story (included below) and recorded my self reading the story. I wanted to achieve a self referential and abstracted version of the story as well as try to experiment in text painting with only the samples of my narration.

The piano accompaniment is in an impressionistic La Mer style used to invoke the declamatory text of, “waves” and the “sea”. I used multiple filters over the voice tracks to create a sort of Alice In Wonderland effect. Particularly useful were filters on the sampled voices. This allowed me to create an underwater effect by automating the threshold levels and by attenuating the frequency range that the filter allowed to pass.

The sounds for the hogs of heaven and stampeding horses were all created from my voice samples. The work ends with a reflection on the moon and stars which gives way to one more utterance passed through a filter to allow only the high frequencies. This ends the work on an ethereal tone.

This is the story of a young girl and the first snowflake of winter.

On a hill side on the other side of where we are now there lived a young girl. She lived in a village built on the side of the hill. At the bottom of the hill was a beach. Along the beach were large rocks. To the girl these rocks were the protectors of the village. They stood tall in the water like knights braving the waves with their broad bronze armor breastplates. The little girl wondered if perhaps the rocks also kept people from ever visiting the village. For as long as she could remember there were any visitors who came in from the sea. That big endless sea! “There must be something on the other side of the sea. “ She wondered what other lands must look like and what the people from there would sound like. “Did it snow in other lands?” She had heard of snow from her grandparents but never seen it. Her grandparents would sit with her at night and tell her of billows of snow blown in from an angry cloud. There was enough snow to cover the entire village. So much snow that one could even tell how far away something was everything was covered in glistening white snow.

To the little girl this image always amazed her. She wondered if the knights who guarded her beach had been keeping the angry cloud away. Couldn’t the cloud just come in overhead? The knights can’t jump and they don’t have wings. “Why would the cloud be mad if he was bringing snow to make the village look so beautiful?”, she thought to herself. This made sense to her. So each night during the cold season she would look out her window before going to sleep and stare at the clouds to see if they looked like they were bringing snow. Each night they would either race by like wispy thin deer or they would just sit there in the sky like some fat grey pigs.

This night she woke in the middle of the twilight by what she thought was someone whispering her name. She looked around and saw no one. She closed her eyes and heard something again. This time she thought it was coming from the window. So she opened the curtains. A soft powdery light fell upon her as she did this. Her eyes widened as she observed the sky. High above she saw the clouds coming in. But they were not like fast deer running nor were they like fat pigs walking. The clouds rolled in like mighty waves coming in from the distance. She thought that she could see the front of the clouds looking like a hundred stallions racing across the heavens, charging, leading the way, and pulling behind them the biggest clouds she had ever seen.

As the stallions pulled the thick cover of the clouds over the small village that sat on the side of the hill the small girl noticed that the window was getting very cold. It had also become very dark outside as the clouds extinguished the light of the moon and stars. The little girl went to her bed and wrapped herself in her favorite blanket and went back to the window. As she stood at the windowsill she saw small sparkling dust falling from the pitch-black sky. Opening the window she thrust out her hand to hold this magically dust. The cold air enveloped her face like a wave from the sea. No dust was landing on her hand. Just then she caught with the corner of her eye a sparkling fragment of light that was heading straight for her. She tried to guess where the light might land with her hand. She watched in wonder as the broken piece of light floated down into the palm of her tiny hand. She brought her face close to see this new marvel. Like the last flicker of a campfire the sparkle was glowed bright and was gone. All that was left of it was a small teardrop of water. “Is this snow?”
She looked back up into the clouds and all around her rained down snowflakes of all sizes. As if someone ripped open thousands of feathered pillows the snowflakes silently stormed down upon the village.

The stony knights of the beach could do nothing but stand guard as the small girl’s smile reached from ear to ear at the beautiful sight.

02

This work originally was meant to be a sort of bird ‘jam’. As I was meditating over a mockingbird recording I couldn’t help but be overwhelmed with the musicality of the song. There were these wonderful syncopations and melodies hidden within. My reaction turned to the thought that birds sing very unconsciously, and man, uses song with such intent. So I thought that I would do some chopping and blend the birdsong into a sort of DJ scratch session. This gave way to editing and sampling the bird songs and using them as a sort of canon or plainchant for other DSP instruments. The result was more of a meditative piece similar to some Eno I’ve heard and the Afro Celtic Allstars. I utilized flex time to take an initial owl hoot and create it into a drone for the pad of the work. The challenge with this work was in fading the many tracks to that a kind of pointillist glittering effect resulted in all the sounds jumping out and receding back. The self referential aspect is that many of the rhythms come from the bird sample which are cut and applied to different instruments for intentional orchestration effects.

lemmel

01


02

no notes

morel

01


02

01 Robo-Drama

Robo-Drama is robots behaving badly. It is digitized, mournful laments and jocular chipsets.

In actuality, Robo-Drama is meant to be a concept piece dealing with stimuli response. Substituting robotic sounds in the context of a dramatic setting, replete with audience vocalizations, this piece shows how sounds can create significance and/or meaning for sounds not normally associated with such ideas. Without a signifier of laughter, would digital clicks necessarily be funny? Perhaps, but the audience forces such implications.

This work uses sampled digital and analog sounds pulled from freesound.org along with industrial instrumental sounds.

02 Winds2

The following is an eight and a half minute exploration of spectrally modeled wind instrument sound through discrete spatial, dynamic, and other parametric manipulation of pitch components, particularly in regard to just intoned higher partials.  The name "Winds Squared" refers to both the quadraphonic orientation of the installation and the concept that spectral modeling of pipes and wind instruments approximate square waves, where the amplitude of any odd-numbered harmonic 'n' is 1/n times that of the fundamental, but all even harmonics are missing.

nokes

01


02

01

I chose to do a story/text for the first project. I used the story of Tiresias from Ovid's Metamorphoses. For this project I wanted to focus on time stretching. I exported the audio into Abelton Live, and ran some granule effects on it. I also used lots of Flex time editing. The different effects that you can produce if you have flex time hold pitch verses change pitch with stretching is very exciting, and I spent a bit just playing around and trying new things with that.

02

This project was actually a bit frustrating at first. The idea was to mix musical ideas of different length, meter and tempo. The start of the process I bounced audio of a marimba sample playing a single pitch. each of these bounces I changed the tempo to a primary number and changed the pitch. I did this by bouncing a sampler track at different tempos. For play back I side chained a gate to a sampler I edited to have multi channel out. Each of these channels controls the volume of one or more audio files.

But after working with the multi tempo audio for a while I wasn't happy with it being the main focal point of the work. So I set about to create several other musical ideas. I created a relatively poppy musical idea in 7/4, and gave the ultrabeat a try for the first time this semester. I then spent a while recording, guitar, vocals and trumpet, although my trumpet part was horrible so I cut it from the piece. I created a bridge in 5/4 and an long minimalist coda in 4/4. Over the top of this 4/4 I fade music from the 7/4 section and vibraphones in 7/16 and the primary number marimba parts.

ryu

01


02-1


02-2


02-3

01

It is an imaginary undersea culture. I was inspired by a picture and I tried to express the picture via music. In the water, you cannot hear properly. I expressed it by using ambient sounds that include reverb or/and delay. My own EXS instruments include different pitch of bright color sounds. By putting continuous of bubble sound as background music, I directly indicated that it is something about water. There are some panning automation that indicates natural flow of water. I did not use too many instruments because I wanted to minimize it to express simpler and more direct ambience.

02

I divided into three movements: exposition, development, and recapitulation. Exposition and recapitulation are on surround—quadraphonic—system, and development is on stereo. In exposition, each track stays at each individual position: -45, +45, +135, and -135. In recapitulation, some of the tracks move around depending on the mood of the piece. However, it is not a harsh move. Also I left spread as +90, because I chose instruments that automatically bounce around: more reverb and delay. Recapitulation is similar to exposition: same beat. I repeated the main melody over and over but in more instruments. In development, I tried to keep the theme melody but faster speed and more instruments. According to the process of the piece, I put string audio files to make it more interesting.