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

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/

Copyright

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