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June 13, 2018 · 11:20:29 PM UTC [ Post ID: 19 ]
To start off this conversation, I wanted to share what I have most recently defined to myself as a type of experimental audio that I believe to be still relevant today. This would be Acousmatic sound, or more simply, the use of sound effects in musical compositions.
Acousmatic sound is an expression that was developed to help define sounds that someone hears when they cannot see how the sound is originating, or the cause. Thus a reduction in perception is created when the context is removed.
I have long been fascinated with the integration of previously recorded acousmatic sounds into post recorded compositions. These sonic environments, experiences reduced to simply hearing alone, in my opinion compels the listener's imagination to create a new concept of perception as the attention is moved away from viewed physical properties. It is in this new conceptualization where the listener can be governor of their own fantastic concoction of mental environments and visualized journeys.
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June 13, 2018 · 11:30:08 PM UTC [ Post ID: 20 ]
Noise. I've always appreciated the use of noise in musical compositions as a form of experimentation. Whether it is background noise, or machine noise, or simple white/pink noise, I find it fascinating how the brain processes the noise as an aspect of the composition. I say, 'aspect of the composition', because I'm referring to noise that has been injected into a song that possesses usual standard elements such as percussion, guitar, vocals, strings, etc. This injection, in my opinion, somehow gets mentally manifested into the noise becoming part of the rhythm or even being perceived as tonal. I have injected noise into several songs over the years in the music of my current and previous bands. However, one day, I believe that I might try to make a couple compositions that are entirely constructed with only various noises. Maybe this could be a future collaboration project for the collective?! Thoughts anyone?
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