Now fading over from quick-motion to slow motion. 

Syncopation of dripping laundry and a clock

Beitrag zur Tagung „The Sound of Sound Studies“ 
Jahrestagung der AG Auditive Medienkulturen und Sound Studies in der Gesellschaft für Medienwissenschaft 
https://llaudioll.de/soundofsoundstudies/

Beredte Stille. Zum Gebrauch der „Atmo“ in der Praxis der Tongestaltung (Fritz Schlüter)

Playing a group of glass lampshades with a shower of water

Ambient techno remix of this Taylor Swift song. Free download.

This is a completely unofficial, unapproved remix which I did for fun. If anyone from the artist's team objects e.g. on copyright grounds, please just contact me and I'll remove it.

Listen to the original track: https://youtu.be/WuvhOD-mP8M

For more music like this, follow Northworks on:
► YouTube: https://bit.ly/NorthworksYouTube
► Bandcamp: https://northworks.bandcamp.com/follo...
► Twitter: https://twitter.com/northworksmusic
► Website: https://www.michaelgallagher.co.uk

Taylor Swift - 'tis The Damn Season (Northworks Remix) *FREE DL*

Date: 2006; Time: -; Location: Berlin; Length: 1'38

Two field recordings of traffic sound from Ackerstraße/Bernauer Straße and from Ackerstraße/Torstraße, Berlin. 

Both recordings are radically changed in duration and in tone pitch. First, traffic sounds are replayed in quick-motion. After 30 seconds, it starts to fade over to traffic sounds in slow-motion. 

These modifications are meant to highlight some rythmical patterns in the "behaviour" of internal combustion engines across the city, on a "macroscopic" as well as on a "microscopic" level. 

At the end you can hear the sound of a German ambulance siren replayed very slowly (at the very end you will hear a short bit in normal pitch). 

Traffic noise, Berlin - time stretch manipulated -

Azadeh Zandieh hat ihre Streifzüge durch den Berliner Stadtteil Neukölln in ihrer Sound-Collage "7x Neukölln" festgehalten. 

Neukölln x 7 – A sound journey through Neuköllnby Azadeh Zandieh

The multi-channel composition ‘Mapping Amager’ is meant to be the result of a sonic exploration of the eastern island of the danish capital. Equipped with different field recording gear (binaural headphone microphones, hydrophones, contact microphones, different directional mics and handheld recorders) the composer tried to capture the unique site specific sonic landscapes – the ubiquitous water and the coast, the beaches, the baths nearby the sea, the different ports and marinas, the clash between nature and culture on this most prosperous part of Copanhagen. In the period of three days the composer made field recordings in every cardinal direction.  Digitally processed, modified and arranged these diverse sounds are diffused in an eight channel surround sound environment according to their provenience. Comparable to the surround sound system in domes of planetaries the loudspeakers are organized in a graticule. With this set-up the composer tries to re-map the sounds and create an acoustic space allowing the spectator to immerse into a sonic map of Amager defined by its varied sites: The airport in the east, the old port in the north, the green fields and parks in the west and the sailboat marinas in the south. In a second step the listener follows the subjective survey and travel of the composer who got to know the island primarily through sonic encounters guided by the unique sounds Amager is offering.

See: https://mappingamager.wordpress.com/

*Please use headphones to listen to the piece to experience the entire stereo-panorama*

Lorenz Erdmann – 'Mapping Amager' (Stereo Version)

Tom Waits (on Jim Wilson): "Wilson, he's always playing with time. I heard a recording recently of crickets slowed way down. It sounds like a choir, it sounds like angel music. Something sparkling, celestial with full harmony and bass parts - you wouldn't believe it. It's like a sweeping chorus of heaven, and it's just slowed down, they didn't manipulate the tape at all. So I think when Wilson slows people down, it gives you a chance to watch them moving through space. And there's something to be said for slowing down the world."

Source: "Woyzeck to run at Freud Playhouse". Daily Bruin (USA), by Andrew Lee. December 3, 2002

Find more on the recording on this link: http://www.democraticunderground.com/10023815586

Tom Waits on Tom waits talking about this recording - http://gloriousnoise.com/2008/tom_waits_interviews_tom_waits

More on the recording - http://hearingvoices.com/transcript.php?fID=142

You can buy original recording here - http://www.amazon.com/Gods-Chorus-Crickets-Jim-Wilson/dp/1932192077?tag=viglink124132-20

Original recording from the author - http://www.constancedemby.com/godscricketchorus_f.html

And more: http://scienceblogs.com/startswithabang/2013/10/13/weekend-diversion-is-this-an-amazing-chorus-of-slowed-down-crickets/

Jim Wilson | God's Chorus of Crickets | crickets audio recording slowed way down

Herman De Vries - The Music Of Sound 3 (Excerpt 1)

Natural sound mixed with music create “eksphrasis”. In a movie the visual and sound are provided which guides better the audience to what the artist tries to express. On the other hand, music alone gives you freedom and too much freedom causes chaos. It is more difficult for people to interpret what the artist is trying to express. The natural sound  is like "the visual" of a movie, what I am trying to say is that it gives the piece a scenario . This is eksphrasis, art within art, something that allows you interpret art in the artist perspective. 
	In my piece I had the idea of ​​representing the sea. The form of the classical piece is ABA and I represented it with the shape of the sea.
Furthermore, I wanted the music and the natural sound to play a little game acting like two different currents. Therefore, I used physics within it: action and reaction. For every ocean wave I would react it with a melodic wave:
Last but not least the panning, my favorite part. There I accomplished “the wash” of  the music and the sound were they would encounter each other. Within the panning I continued with the idea of creating the shape of the sea:

Accesus et Recessus

While we cannot see small nanoscopic objects like proteins or other molecules that make up virtually all living matter including our cells, tissues, as well as pathogens such as viruses, our computational algorithm allows us to make its material manifestation audible.  This piece is a musical representation of the amino acid sequence and structure of the spike protein of the pathogen of COVID-19, 2019-nCoV (protein data bank identifier 6VSB [1]). 

MUSICAL DECEIT

A virus’ genome hijacks the host cell’s protein manufacturing machinery, and forces it to replicate the viral genome and produce viral proteins to make new viruses from it.  This musical art teaches us something about the fine line between beauty of life and death as an opposite pole.  As you listen to the protein you will find that the intricate design results in incredibly interesting and actually pleasing, relaxing sounds. This doesn’t really convey the deadly impacts this particularly protein is having on the world. This aspect of the music shows the deceiving nature of the virus, how it hijacks our body to replicate, and hurt us along the way. So, the music is a metaphor for this nature of the virus to deceive the host and exploit it for its own multiplication. 

HOW IT IS DONE: 

What you hear is a multi-layered algorithmic composition featuring both the vibrational spectrum of the entire protein (expressed in sound and rhythmic elements), the sequence and folding of amino acids that compose the virus spike structure, as well as interwoven melodies - forming counterpoint music - reflecting the complex hierarchical intersecting geometry of the protein [2].

Scientific references:

[1] Wrapp et al., "Cryo-EM structure of the 2019-nCoV spike in the prefusion conformation," Science, 2020, DOI: 10.1126/science.abb2507

[2] Buehler et al., "A Self-Consistent Sonification Method to Translate Amino Acid Sequences into Musical Compositions and Application in Protein Design Using Artificial Intelligence," ACS Nano, 2019, DOI: pubs.acs.org/doi/10.1021/acsnano.9b02180

Viral counterpoint of the coronavirus spike protein (2019-nCoV)

Viral Counterpoint of the Coronavirus Spike Protein (2019-nCoV)

Fritz is a cultural anthropologist studying the sonic environment. He lives in Berlin. 
--
Credits please, if you are sampling one of my recordings! 

[Header and background photo by Laura Caroline Ranglack]

Traffic noise, Berlin - time stretch manipulated -

Field Recording

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