Composing soundscapes from a single field recording
Abstract
This paper will discuss the multiple uses of a single original field recording in relation to the author's own work, with inspiration drawn from composer Joanna Bailie's works. Bailie views the prolongation of frequencies in field recordings as a way of "freezing" a section of time, to explore the essences of the frequencies found within a particular point in time - turning the moment into a decipherable stretch of time for the mind. This elongation also allows the exploration of emotion and musicality of a moment, by exposing hidden harmonies and rhythms. The paper will discuss methods of composing with a single field recording (time-stretching, layering, and the use of effects and panning), through examining two pieces from the author - Corridor [2018] and The Insect Apocalypse [2018] - and how such a process, with its combination of artistic and technological interventions, can also create pieces that mediate on the ecological stresses found within the original field recording.
Document Type
Conference Proceeding
Date of Publication
1-1-2019
Publication Title
Seeing The Inadudible, Hearing The Invisible
Publisher
Australasian Computer Music Association
School
Western Australian Academy of Performing Arts (WAAPA) / Centre for Research in Entertainment, Arts, Technology, Education and Communications
RAS ID
30587
Copyright
free_to_read
Comments
Tsang, C. (2019). Composing soundscapes from a single field recording. In Proceedings of the ACMC 2019: Seeing the inaudible, hearing the invisible (pp. 58-62). Australasian Computer Music Association. https://computermusic.org.au/conferences/acmc-2019/