soundart
Just another myblog.arts site

Tag: composer

Categories
Contemporary Issues In Sound Art Second Year

Future Sound Study Idea:

Throughout my research centred around deeper listening I have found myself fascinated with the juxtaposition between manmade noise and the natural environment. As global change prevails around us – while living in a city it was vital to recognise the man-made human sonic influence.

Coming from the countryside I grew up with minimal noise pollution around me. When I then moved to London my new auditory environment entirely changed. In the beginning, I saw this as only a negative however as I have opened my ears beyond the first layers of listening I have discovered that there can be something beautiful found within this jungle of sounds.

London College of Communication is a centre piece for “noise pollution” however I am beginning to retire away from the word “pollution” but instead see this as an opportunity. Every sonic noise has stories to tell about the community and architecture that is based there. In the future, I feel inspired to take a field recorder and listen beyond this branding of “pollution” and delve into the sonic stories we can find. After I have recorded these noises I would love to create a soundscape that highlights the contrast/ similarities of sounds made by nature vs sounds made by humans. Exploring the beauty of both sides and potential areas in which they can influence each other. Se Below for contrasting areas in which I would like to record.

Categories
Contemporary Issues In Sound Art Second Year

Joseph Kamari:

I found Joseph Kamari’s work profoundly moving as he talked about his awareness of the world around him. His work focussed so deeply on the everyday noises but simultaneously felt like something new and fresh. After watching his new live stream at HÖR Berlin if felt highly inspired by his sonic positioning and art.

Kamaru works with familiar noises in our society and applies different synths and drones which almost mask what are hearing. These sonic effects make his sonic sound inaudible to fully understand; I find such beauty in this. Blurring the boundaries between understanding and unfamiliar can almost place a mediative effect on the listener. Complications and chaos of civilisation can tarnish how we hear sounds. Our ethnographies build up a list of connotations linked to sounds we hear and can almost create a negative and presumptuous mindset. How his work blurs these certainties within this live stream leaves thinking space for the viewer to create new preconceptions around the sound.

As humans, we are so driven physiologically to the source of sound and how it looks. However, Kmaru’s work has inspired me to listen deeper beyond the context and around the sonic itself. Humans think about the source of sound when listening due to a combination of innate cognitive processes and learned experiences. I researched into this, finding that the main reasons stem from us having, survival instinct, spacial awareness, social interaction and being environmentally aware.

I will talk about the idea of this deeper listening within my essay and express the vitality of how we chose to hear and see rather this listen beyond the what who and where.

Categories
Contemporary Issues In Sound Art Second Year

Noise Music – Meditative effects:

Examples of noise have been used for years within the avant guard sonic community. From John Cage’s ‘Oceans of Sound’ to Florian Hecker’s ‘Event Stream Objective’ reverberation has formed its genre of sonic auditory sound. Our ability to perceive sound is significantly influenced by noise music and reverberation. Noise music can provoke strong emotions and change our mood due to its rough and chaotic noises. Some listeners may feel uneasy or uncomfortable as a result, while others may find it freeing and energising.

On the other hand, reverb is the continuation of sound in space after the sound source has ended, which can improve the quality of music and speech by giving the sound more depth and richness. Additionally, it might provide the impression that the listener is immersed in the sound and space.

I believe Noise music can become meditative and create an extreme amount of emotional auditory space for people to reflect. For this reason, I chose to work with reverberation within sound for some screen work I have recently been working on. I felt this emotional room within the sonic would allow a place for the viewer to connect stronger towards what is happening on screen.

Overall, reverberations meditative characteristics worked extremely well with my sound for screen and I will continue to use this in future work.

Categories
Contemporary Issues In Sound Art Second Year

Claiming Identity – The Power It Holds Auditory

As I listened to Samson Young speak about his form of storytelling and identity through his work, I later researched further into his piece ‘Nocturne’. The effect this sound installation held on the audience; creating a pathway of exploring old fallen soldiers from WW1 and a reflective soundscape, influenced me heavily.

The power of storytelling within the sound is a beautiful thing that explores the theory of deeper listening beyond the sound itself and the attached context within the sonic practice you hear. In my opinion, this forms a telling dynamic with the audience beyond the auditory; leaving room for empathy, sympathy and understanding. It gives a platform for the listener to connect further into a sound installation and see glance through the artist’s vision.

In the past, my work, I have touched upon identity and storytelling in sound installation previously. I chose to interview a series of people on portobello road discussing their purity stories and chosen music genre when growing up. Having insight into someone else’s life shapes a piece emotionally differently when not used. Despite this success, I have reflected on Young’s lecture and my previous work and contemplated the idea that I have never included anything about my own identity within my work. As an artist, I have always been driven towards the storytelling of others and lacked any self-reflection. Taking this I have decided to begin including a sense of identity with my future work. This way it will allow listeners to form a bond with me as an artist and hopefully clarify the context better than it did before.

This is a section taken from my previous sound exhibition showing Identity.

Categories
Second Year Sound for Screen

Blog Post 2: We Need To Talk About Kevin – Sound For Screen

As I have continued composing my piece I have found myself using sections of silence for dramatic effect.

Inspired by Oriol Tarragó’s work in ‘The Impossible’ (2012), I found his use of silence during shocking and vulgar scenes only become more powerful when the music was playing. It gave the viewer time to hone in on the visuals and reflect on the seriousness of what was happening on screen.

During scenes from La Tomatina festival, I felt that segments of silence could prove very powerful. The juxtaposition of chaos shown in the scene contrasts the silence well and provokes time for the development of an emotional tone. Silence brings a sense of severity with this mirror with the exciting visuals it creates an extremely ambiguous setting. Despite the scene from La Tomatina being a happy stress-free memory for the mother as a use of foreshadowing I wanted to incorporate sound that indicates a distressing harrowing side to life; indicating her future. The ambiguity of contrasted sound grabs the viewer’s attention by telling them that this isn’t shown for exciting and happy effects. 

Finally, with Lynne Ramsay directing the entire film from the mother’s point of view, silence subtly tells the viewer that we are seeing this from her eyes. It takes away Tarskovksy sense of realism as I feel this only brings a godlike point of view within the film. 

I enjoyed playing around with silence for its powerful and unremarked effect and I hope to use this in the future. As I have continued composing my piece I have found myself using sections of silence for dramatic effect.

Inspired by Oriol Tarragó’s work in ‘The Impossible’ (2012), I found his use of silence during shocking and vulgar scenes only become more powerful when the music was playing. It gave the viewer time to hone in on the visuals and reflect on the seriousness of what was happening on screen.

During scenes from the La Tomatina festival, I felt that segments of silence could prove very powerful. The juxtaposition of chaos shown in the scene contrasts the silence well and provokes time for the development of an emotional tone. Silence brings a sense of severity with this mirror with the exciting visuals it creates an extremely ambiguous setting. Despite the scene from La Tomatina being a happy stress-free memory for the mother as a use of foreshadowing I wanted to incorporate sound that indicates a distressing harrowing side to life; indicating her future. The ambiguity of contrasted sound grabs the viewer’s attention by telling them that this isn’t shown for exciting and happy effects. 

Finally, with Lynne Ramsay directing the entire film from the mother’s point of view, silence subtly tells the viewer that we are seeing this from her eyes. It takes away Tarskovksy sense of realism as I feel this only brings a godlike point of view within the film. 

I enjoyed playing around with silence for its powerful and unremarked effect and I hope to use this in the future. 

Categories
Second Year Sound for Screen

Blog Post 7: Volker Bertleman – Sound For Screen

Volker Bartleman – sound searcher – synthesisers – modern sounds – German techno – relatable – universal – relevant – recurring motif – shocking – alert – new – the fresh – second version of the film – a combination of classical and modern 

Volker Bertleman identifies himself as a ‘sound searcher’. His scoring for the new 2022 version of ‘All Quiet on The Western Front’ shows his ability to represent modern-day themes in a  soundtrack focused on past events. It is often difficult to create updated versions of classics. However, Netflix’s version of the movie proved to be highly successful with an artistic approach to representing the vulgar truth.

Despite this film showing historical events from the WW1 German frontline, this modern remake cleverly shows this with an even more fresh style than before. Volker Bertleman uses a combined mixture between synthesisers and classical scoring to weave together the combined themes of the modern day and the historical past. The clever connection between old-school musical techniques and current electrical sound scoring highlights how dated stories still live on through modern themes today. 

His unique and attention-grabbing sounds through electronic noise are a symbolic reacquiring motif throughout. They quickly alert the listener taking them out of the comfort zone of a classical moving score. The sounds are abrupt and unexpected which cleverly narrate danger and destruction are approaching. The suddenness from the electric synthesised noise reflects the abruption constantly shown throughout the film through explosions on the battlefield. Every time this same sound is played death is shown on screen; highlighting how common it was and still is in high-conflict wars.

Despite his incorporating modern-day electronic sounds which are factually incorrect to the times in which are presented. This makes the score relevant and responsive to modern-day listeners/viewers. War is a constant theme still in today’s society and Volker Bertleman’s modern scoring techniques highlight this. The use of contemporary sound effects reflects a connection to modern-day society making the themes on screen admissible and more believable.

Categories
Second Year Sound for Screen

Blog 10 – Mathew Herbert ‘The Wonder’ Sound For Screen:

Music concrete – a collage of sounds – use of voice edited- ethereal – recurring motif – distortion – one woman’s voice through – woman power and the powerful connection to god- ethereal – “calling” delusional – recurring motif – calling from god. Reverb a collage of voices – themes of disassociation – hallucination, death, and women’s power. Maternal themes – all non-diagetic –

After recently watching the new Netflix movie ‘The Wonder’, I grew a strong insightful connection to Mathew Herbert’s soundtrack and Techniques. His ethereal score shows strong uses of musique concrète throughout. Certain recordings are layered together to create a collage of different sounds which work extremely well in making a timeless and effective piece.

The movie presents strong connections to religion and God, with running themes of maternal instinct, hunger and disassociation. Despite techniques of ‘musique conctrete’ the constant use of voice also becomes a heartbeat for an immortal and ageless piece of sound; similar to themes shown on screen such as religion. Sounds taken from a woman singing are used as a recurring motif to foreshadow motherly power throughout the entire film.

Within the film, the little girl is going to die from hunger but believes God will save her until she realises that ‘Mrs Lib’ the lady that nursed her is her saviour and rescues her forever. The repetitiveness of a woman’s voice foreshadows how female motherly instinct becomes her God and is always present throughout the film; overpowering any religious beliefs.

Despite the film being set in rural Ireland; Location becomes a trivial point to the movie. Themes throughout show how the power of religion and motherhood override their surroundings; resulting in them running away to Australia. I believe that Herbert represented this beautifully within the soundtrack. It could have been easy and extremely narrative to create a traditional Irish folk-sounding score. However the entire score is non-diegetic and non-suggestive of location, or time; much like how religion and motherhood are not relevant to place or time. With the use of voice, musique concrete, and distortion, they all collage together to create a un earthly and ageless atmosphere. The sound within the film creates a celestial soundtrack as if it can not be placed on Earth; cleverly linking to the themes throughout the film.

Categories
Second Year Sound for Screen

Blog Post 9 sound for screen:

A common technique used within sound for music is when the lyrics are used to foreshadow certain elements of what is going to happen on screen. Lyrics can be a powerful use of foreshadowing and I have chosen to use this within my work. Despite the viewer connecting the music to the scene automatically when we listen to music, we connect to the lyrics with the song. I found that this was a more subtle version of foreshadowing within the work without it becoming too overpowering for the viewer. 

The song I decide to use within my opening scene is a song named‘ Bow and Arrow’ by Kacey Johansing. Later in the film, Kevin used a bow and arrow to kill many of his victims at the school. Despite the obvious connection between the object, the metaphorical meaning behind the song is being unable to connect and discuss whose fact that is. These are recurring themes within the film; linking to the troubles of motherhood, and blame for Kevin’s behaviour. I felt that the lyrics of this song connect to deep levels of the movie without being entirely obvious and cliché within the links. Indirect foreshadowing leaves ambiguity for the viewer; leaving space for self-reflection and prediction.

Lyrics within the music can bring so much added value to a scene by narrating certain themes however they’re and strong and successful way to foreshadow events within the movie subtly and stylistically.

Categories
Second Year Sound for Screen

Blog Post 6 Sound For Screen:

“If only we could learn to listen to the world in the right way, its sounds could become all the music that cinema will ever need”

Tarkovsky’s approach to realism paved the way for sound for a screen that we still see and hear today. His heavy use of only foley creates realistic soundscapes. He believed that music over the screen was wrong and false. He stated, “I do not need ordinary film music. I cannot stand it, and I do my utmost to escape it …”. 

Despite some viewers finding his work a more stripped-back approach, it provides audible space for understanding and thought-provoking moments on screen. Music is used as escapism within the screen. Often used to highlight certain emotions within the context of the movie or help narrate characteristics. However, when this is taken away we are left with no audible instruction but ‘realism’. With no music to tell us how to feel it can in some cases create deeper and more thought-proven effects on a storyline. When humans are left in silence to think by themselves, deeper emotions appear. Tarkovsky wanted the audience to “connect their meanings”.

A modern example of Tarkovsky’s approach to sound for the screen is sound is Philip Barantini’s ‘Boiling Point’ starring Stephan Graham. Sound composed by Aaron May and David Ridley uses a one-shot film with no music and only foley sound effects. The foley is not exaggerated and instead mixed to realistic levels. Throughout the film, the sound feels as if it has been completely left to its natural form; meaning there are no special effects or EQ added. This continues throughout the entirety of the film which brings an almost immersive experience. The camera angles used in a Point of View from the sound match this entirely well. Leaving an utterly pragmatic effect as if the viewer was there within the story.

I believe this approach matches Trakovsky’s aims and approaches to cinema and creates an all-round authentic piece of work.  

Categories
Second Year Sound for Screen

Sound for Screen Blog Post 1- Hildur Guðnadóttir

Hildur Guðnadóttir is an Icelandic influential and incredible film composer; famously known for her work in ‘Sicarios’, ‘The Joker’ and Sky’s series ‘Chernobyl’.

In recent podcasts and interviews, it is important to note that Hilder mentions that although Hollywood contrives identities she does not consider herself as “one thing”. Her background in cello playing certainly hands her the musician’s cup, however, her work is extremely experiential and less cerebral than most. I found her words relatable in the way she talks about the love for both storytelling and music, and the way film combines them. This is important to uphold when you strive to create a sound for the screen. Music can not just be placed over the screen; the sound subtly informs the movement of the characters – the way they move and think through rhythm, pitch and melody. Creative works like this can only be fulfilled well when there is a close creative relationship between the director and composer. Both have to hold the same message and understanding of who they want each character to be.

What impresses me most about Hilder’s recent work, is the creative process she went through to create the spine-tingling soundtrack for Chornobyl. She worked alongside Chris Watson (famous for his incredible field recordings) and ventured inside The Ignalina Nuclear Power Plant, Lithuania. Together they collected hours worth of sounds taken inside the looming corridors and plant rooms. Every single part of the score was pieced together from these field recordings like a tragedy rendered into sonic sounds. Again these sounds translated so well because the recordings were made alongside the shooting process; at the same time and geographically in the same place.

Hildur has also previously spoken about her ability to trust her instinct in the way something should sound when reflecting moments on screen. Although as a society we naturally connotate certain sounds of nuclear disaster, through things such as a Geiger counter; she wanted to involve authentic sounds that one does hear when on a nuclear plant.

Her words used to describe the story of the series – “It’s a complicated story to tell” resonate with the way she structured her sound. The difficulty and compacted storyline Chornobyl holds means her almost ‘musique concrete’ style of work portrays so well when watching the series. It is so simplistic sonically yet so dense creatively. With little musical incorporation with some string sounds here and there, the field recordings shower the score with a continuous atmospheric effect. The entire piece felt as if something was continuously going to happen sonically. This is a huge reflective response to what is happening on screen and in real life. The apprehensions and nervousness felt by the entire world during the Chornobyl disaster still stand with us today. Her ability to sketch this out sonically lifted the series to that extra level.

I truly admire Hildur Guðnadóttir’s work she gets involved in whatever the story may be. Her inclusivity within the themes she works with always proves to blow you away sonically. She breaks boundaries for composers that have previously been bound up by the likes of Hollywood and tells a story no other composer does as well. I hope to get as physically and mentally involved within my storytelling the way Hilder does for my future works in sound for the screen.