What is birthed when the old parts of oneself meet the new? The recordings, songs, and samples I used to create this EP were revisited from different chapters of life lived in far away and realities, to from a dance with my more recent spiritual practices, sonic rituals, and abstract forms of creative expression. I was interested in the intersection of prayer, soundscape, and storytelling, aiming to bridge sounds of the past with aspirations of the future and ended up in an exploration of the whimsical, ethereal, somewhat dissonant in-between. I invite you to float backwards along the mystical river that makes up the water of these songs, just as I did in the process of creating them.

Dragonfly

Samples, Sampling, Samples
Center for Computer Research in Music & Acoustics
Stanford University, CA
Spring / 2024 

Research and choose an audio composition that samples at least one preexisting recording/song. Find the original source. Create a new 2-3-minute audio track using samples from both sources. The piece you submit should be uniquely yours. I.e.: you must contribute to the previous works to create something new. How are you highlighting and/or subverting the original sources to create new meaning?

Ruben Cuevas

Osadolor Osawemwenze

Marcus Grey

Kim Ngo

Voice
Center for Computer Research in Music & Acoustics
Stanford University, CA
Spring / 2024

Create a 2-3-minute audio composition that utilizes the concept of voice as a main component of the piece. What is a voice? Who or what has a voice? Is a voice something only produced by living entities? Do machines and objects have a voice(s)? Can a physical space have a voice? How can a voice function like an instrument? How can an instrument function like a voice?
Voice(s) included in the piece can be human, non-human, samples, or other conceptual sources. The composition can be narrative, non-linear, and/or musical.

Dragonfly

MUSIC 101 : : CCRMA

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