Cora's blog

1. Develop one of the pieces begun in today’s session to be played in next week’s session. 
2. Add the piece, or a part of it, to your blog. Add some annotation to this.
3. Reflect on notes taken in today’s session. Consider what aspects of the session may be useful in your personal practice.

During this experimentation, I first started off by reviewing the reading materials and initially found it quite confusing. After some research and listening to sample pieces, the piece that I was most interested in was the musical concrete of Pierre Henry titled Psyche Rock. The introduction of the piece manipulates a combination of a clock chime, wind background with the flute playing the melody of the piece, creating a haunted and creepy theme with the use of a dissonance interval as well as a slow tempo on the flute. Soon I was able to grasp an idea of how sound objects and harmonies could be combined together but failed to come up with my own interpretation or my own idea. I first recorded the clash of cutleries and the rolling sound of a pottery mugs on a wooden surface my initial idea was to somehow mimic the creepy and haunted theme but then after some experimenting I realized that the theme is more reliant on the instrumental melody than the sound effects and that I would have to first create my melody then look for suitable sound and this is my approach for my second experiment. To help me further understand and improve the effectiveness of my approach I then listened to the audio  materials provided, the one that i found most interesting was the podcast of “Holly Herndon on Self-Sampling and Emotions Through Music | Red Bull Music Academy” from her podcast i realized that my piece does not have to include instrumental harmonies of any kind and could manipulate the theme and emotion only based on the sampled sounds  “I can take that signal and smoothen it, make it very beautiful, make it sound like a violin, or map it to an instrument or do anything with it” Which got me thinking about the final idea of my which is to compose a piece that is only based on recorded sound, manipulating them into melodies.

First I decided on the sound object that I am going to use, which are clashing cutlery sounds, sound of me brushing my teeth as well as a basketball sound, first i manipulated the sound of the tooth brush with a simpler and and created a looped beat as the bass rhythm of the experiment

After that using the 1-shot mode i created a percussive sound with the use of the sound of a bouncing basketball by first trimming the sound then decreasing the transparency 

I also alternated fade in and fade out to smoothen out the sharpness of the start and end toothbrush the pattern created is the twice as fast as the base pattern on the

Lastly i also used the sharp clashing noise of the cutlery for the offbeats of the piece alternating the filter provides a lower muffled clashing noise

I then ended the experiment by adding a melody on the flute

Throughout this experiment I have learnt that any sound could be manipulated into an instrument with a simplier and sampler

• Prepare a written critique of your own work and of another broadcast artwork, to be published on your blog. It could be something you’ve heard recently or a historical work of note. This should summarise your thoughts about what is uniquely characteristic of the medium of radio.  

Broadcast artwork: Last Transmissions by Melissa Dubbin and Aaron S. Davidson.

“Last Transmissions (2005) by Melissa Dubbin and Aaron S. Davidson includes sign-off broadcasts from former radio stations, last addresses of public figures, and last radio contacts with planes, ships, and satellites. These transmissions mark times of crises and cultural importance and they often register as more significant than all previous transmissions.[2]”

http://hyperrhiz.io/hyperrhiz17/essays/4-barber-radio-art.html 

• Meet with your group, discuss and plan a realistic workplan leading towards hand-in. Be candid about the amount of time you can dedicate to the project. Please do not agree to a commitment that you will not be able to deliver upon.

In this review and revision section, me and my group had our final discussion about the project. We finalise the details about names of the characters and what each name represents. Inside there are many details that symbolises our setting of suppression that made my higher status and riches.

The very next section is our recording day. Me and one of our teammates have participated in the broadcast recording. I realise the emotion of the character is the most important thing during the recording. We have recorded multiple times and realise this was while I act as the side character and lead the record actors, the recording was more realistic and emotional. 

We also tried multiple distances between the microphone and the actor, we explored how the shouting was recorded better with the further distance between mic and the actor. They can express the emotion better and the microphone could catch more without being damaged or over-modulation.   

During Easter I have recorded the rest of the character in our script with my old friends, I have compared different voices, tones, and accents to see if it is suitable for the character. 

Through comparison I realise the voice density will be better with the second track, where the tone is performed better with track one, however we like the space between each sentence in the second track where the Spatialization allows the audience to take a breath. Especially in the track for the character James, we recorded with different distances when the character that is having conversation with is placed in a far distance. Overall, there are many details that I have compared and contrasted with to finalise the track we wanted to put in the final sound radio.   

• Your group needs to bring in a draft script for your proposed broadcast work. This script is the spoken word or voice element of the radio artwork with additional instructions for sound effects, music stings etc. Bring TWO copies on paper of this script. These are to mark up with sfx cues and other notes.  

This is the document me and my team members are working on: https://docs.google.com/document/d/1-gqjca6lNOnrXgXL2jfDLosQ9jgwq5QifQ7_8yAwwJs/edit?usp=sharing

We firstly listed some ideas about our theme and we moved on to deciding with the draft for the audio.

In our further meeting, we have finalised the theme and created our outline about the script. I have taken the role of writing the script and adding the sound effect later on. The script haven been discussed about, and in the process of discussion, I given a variety of ideas that are creative and helpful, we were thinking about making the theme bigger due to the reason of sensitivity and controversial of the it, if we pointing to any specific place or region. Therefore, I thought of creating a fractional world. We have further developed into the areas where human rights are based on the power we hold and class we are in. Where we want to put our setting in the future such as the technological world with utopia. Thinking of Utopia, I thought of a movie that I have seen before, which is also about Utopia. The story was about how people get brainwashed and eased memory, where they think they are living in a perfect world. But the truth is actually one queen controlling everything, people have to listen to her, nobody knows the truth except her. I shared this story with my team. This story inspired many of my teammates and they all agree to create a factional world with new technologies. Our concept is power and classes are human nature desires, which can be presented by using robots to compare and contrast with humans.

After planning the storyline, I have begun to write with one of my teammates. I have carried most of the narrative and structure, especially the main conflict that leads the audience to hear the highlight of the story and understand the meaning of the story.  

• Reflect on today’s session and write up your fifth blog post. Can you find two examples of creative practice that illustrate any of the points introduced today? How did you feel about the improvisation exercises – did you enjoy them? Why? Did you find any of them difficult? Why? 

In this section we learn about how to create indicative content of a radio drama, it is important to create a scenario and it is also what me and my team have been working on. We want to create a simple storyline where the problem can be shown in a short and clear story. “The War of the Worlds” (1938), “The Goon Show” (1951-1960) are the two examples I have found that inspire me and get my attention. First “The War of the worlds”, this broadcast caused a huge panic at the period where people actually started to believe the Martian invasion was happening, which is considered a landmark in the history of radio drama and a testament to the power of audio storytelling. This drama was structured in between music programs, it seems like there is actual real-time news, which it builds on the reality of the show. As well as the characters, they possess Dramatic Narration and Acting: Orson Welles and the Mercury Theatre actors delivered their lines with a sense of urgency and realism, adding to the drama’s believability. Welles’ dramatic narration and voice acting were particularly effective in creating a sense of panic and fear. Here is where the tension has been created, pacing and rhythm have been made and allow the audience to be followed and empathised. Different characters making conversation brings Dialog and the direct purpose is to enhance the realisticness of the show. 

“The War of the Worlds”: https://youtu.be/Xs0K4ApWl4g?si=yW1Foh3iHbYNnLU8 

“The Goon show” is the opposite example, it is a comedy show that tells stories about a group of eccentric characters. Where it pioneered unconventional storytelling techniques and inspired generations of comedians and writers with its avant-garde approach to radio drama. Firstly the rhythm is very clear, the sense of humour was the biggest characteristic of the show, it was the most bold show that the theory and codes of narrative is never in a traditional way. The dialog and purpose was obvious for the audience, there were direct interactions made with the audience, such as questions and laughter from the audiences, which broke the fourth wall and brought up the level of interest. The sound effect of exaggerated footsteps and noises was also avant-grant. Various wordplay and improvisation was the key of the structure, it is embedded with the main plot and increases the funness of the story and attracts more attention from the audience. 

The Goon show https://youtu.be/VuVFFNvyUT8?si=L6NMJJLuhfyhY2TW  

I was strongly attracted by the improvisation exercises we had, for me I consider it a fun activity to be creative and brainstorm randomly, which actually allow me to think beyond the path that is logical and ethical, the randomness can actually open my mind and explore more possibilities for the storyline. This made me think about developing our project with some factional elements involved. 

• Write up your fourth blog post. Reflect on today’s session and articulate your responses to the different elements of a radiophonic artwork (i.e. the human voice, music as bed, the use of song and / or poetry, quotation, sound effects, environmental sounds, editing, radio as environment and the nature of radio listening).

 In today’s section we have learned about the different elements for sonic narrative, I have taken note and summarise the elements down below: 

1. Acousmatic nature: Radio art is often experienced in an acousmatic setting, where the sound sources are unseen or obscured, allowing the listener to focus solely on the auditory experience.
2. Narrative and poetic elements: Many radio art pieces incorporate elements of storytelling, poetry, or dramatic performance, using sound as the primary means of conveying ideas and emotions.
3. Manipulation and synthesis: Radio artists employ various techniques for manipulating and synthesising sounds, such as tape loops, sampling, filtering, and electronic processing.
4. Temporal structure: Radio art pieces often have a distinct temporal structure, with elements of pacing, rhythm, and timing being crucial to the overall composition.
5. Spatialization: The use of multi-channel or binaural recording and playback techniques allows radio artists to create immersive spatial experiences and explore the relationship between sound and physical space.
6. Live performance: Some radio art pieces are created and performed live, either in studio settings or as public performances, allowing for real-time manipulation and improvisation.
7. Interdisciplinary approach: Radio art often incorporates elements from other art forms, such as visual art, literature, and performance, blurring the boundaries between artistic disciplines.
8. Experimental and avant-garde nature: Radio art is often associated with experimental and avant-garde art movements, pushing the boundaries of traditional radio broadcasting and challenging conventional notions of sound and listening.
9. Transmission and dissemination: The unique characteristic of radio art is its transmission and dissemination through radio waves, allowing for a potentially vast and geographically dispersed audience.

  I consider these elements are very helpful for me to understand the concept of radio, it can help me to have a better structure and use of technique for my script writing.

SFX: Sound effects in film and video, it can also be used to describe special effects as a whole. 

Techniques that can be used are: mixing, liveness, repetition, serendipity, fugitive nature of the sound, where radio is located. 

Sound effects can be shared are explosions, dramatic weather, a prison or forest environment, a hammer blow to the head. (Make sure this sfx have been realised)

• Listen to “Knock Knock – 200 years of sound effects,” a programme made last year for BBC Radio 4’s Archive on 4. https://www.bbc.co.uk/programmes/m001hxs4 This guide to sfx is itself an elaborate and wide-ranging tour de force and a work of art in its own right. 
• Write up your notes on how Foley/Sfx have been achieved and share these on your blog. This is your second blog post as asked for in the Assignment Brief.

In this further section the teacher led us to experiment putting the sound effects and music behind the broadcast. After listening to a few examples I got a basic idea about what can be added for a broadcast, the sonic design could come after each line or design according to the scenario. 

From research and experiment I found out these sfx can be created by using: Field recordings, Foley (where sound can be created by using items and imitate), Synthesis (electronic sound where made by computers softwares), Sampling (record exist sound and made electronically), Layering and process (sound can be layered up with multiple sound sources and also process in different sound edits like sound effects into new sound shapes). 

• Polish and archive any sound files that might contribute to your Unit Assessment, or the group broadcast. 

For the group project, we have finalised our theme and decided to meet on Thursday to decide further about work divisions. I have collected down all the ideas we had and are planning to bring them up for our meeting. Before we finalise all the details we have strong feelings about freedom of speech in China or even broader all around the world, we consider this is the fundamental right of all people and it is important for people to realise the matters of being heard and seen. We were thinking about writing a speech that could be sarcastic and having traditional Chinese instruments as the music for the background. 

To know what specific music and sound we want, the first thing is to explore a range of ideas around sound effects. The traditional chinese instruments in China are: 

1. Melodic Instruments:

• Guqin and Guzheng: These plucked zithers have a warm, mellow, and resonant tone quality.
• Erhu: The bowed erhu has a haunting, expressive, and sometimes nasal sound due to the python skin resonator.
• Dizi and Xiao: The bamboo flutes produce a bright, airy, and penetrating sound.

2. Tonal Quality:

• Many Chinese instruments, like the guqin, guzheng, and pipa, have a rich tonal quality with a wide range of overtones and harmonics.
• The use of materials like wood, bamboo, and silk contributes to the unique timbres of these instruments.

3. Microtonal Inflections:

• Traditional Chinese music often incorporates subtle microtonal inflections and embellishments, which are easily achieved on instruments like the erhu and dizi.

4. Percussion Instruments:

• Gongs and drums have a significant presence in Chinese music, providing a distinctive rhythmic foundation.
• The sound of gongs, like the Chinese opera gong, can be resonant and sustaining, while drums like the tanggu add rhythmic depth and complexity.

5. Ensemble Blend:

• When played together in an ensemble, the various Chinese instruments blend in a unique way, creating a rich and harmonious tapestry of sound.
• The combination of melodic instruments, like the dizi and erhu, with percussive elements like gongs and drums, creates a distinctive sonic landscape.

We are thinking about testing these instruments to see which are suitable for our broadcast in the further sections. 

in element 2 we suppose to create our own compositions, i have firstly thought about the theme. Where i want the compositions to be about my mental state at the moment, i consider the artwork can only be emotional and impactful when it is expression produced from real experience of an artist.

A few ideas of mine is:

1. Confusion
2. Life has no right answers

These are the two ideas and concept that i am going through at this stage of my life

The material and sound source i want to collect is my friends voice message, some symbolic spiritual sound. However, I still need more experimentation and class material and new knowledge and ideas to expand on my initial ideas.

in newist lesson of SFX workshop, one of the example used reverse technique, which create the entire senes to be choastic, where I consider that could be used in my piece

When we thinking about confusion I think about chaos, dispair, unsure about everything, fear, anxious, evaluate all the decisions I made, regret all my decisions, pain inside of my heart with passion (How I just don’t passion about music and sound, about what am l doing right now, but I don’t know what I am passion about, I feel the pain when everyone finds what they are passion about.) Always have to remind myself about what I actually want, because there are so many uncertainity I feel so insecure and anxious. (Maybe some feedback and space, echos)