This piece is about looking into the fridge in the wee hours of the morning debating on whether or not I should fall into temptation.

In reality it is a response to Russolo's Art of Noise Manifesto. He calls for the new sounds of the industrial age to used in the orchestration of the future. With emphisis on the man, in manifesto, Russolo's examples include very 'masculine' sounds, those that represent the sounds war, and or machinery. For me, war is scary. However I prefer the terror of delicacy. Rough sounds can only communicate so much to our ears (imo). So I thought I would take some soft natural sounds, and bring out the intensity in them.
This piece only uses three instruments. Voice, 6 string bass guitar (with a fuzz pedal) and rain. The only effect used is delay. The sounds from the bass were all manipulated live over the course of two takes,

Electroacoustic Music Project 1 - Kyle Naugle

For this piece I adapted John Cage's technique of combining separate tape recordings together.  Using a random number generator to make certain compositional decisions for me (what order would the recordings would be arranged in, which section of each recording would be used and for how long each recording would run) I was able to compose a piece which was largely organized by chance.

Caleb Caming - EA Project 2

For this piece took inspiration from Morton Subotnick's Silver Apples of The Moon and Karlheinz Stockhausen's Kontakte.  Similar to Kontakte, I composed my piece using a tone row.  Every note in this piece originates from a tone row.  But unlike Stockhausen's Kontakte, I tried to think rhythmically and make a composition that could be easily understood; in this way, I believe that I was influenced by Silver Apples of The Moon.  The high pitched noises that are constant throughout my piece were inspired by some of the high pitched noises that occur in Silver Apples of The Moon.  Even though I was unable to create sounds with a synthesizer, I tried to feature sounds that were clearly made by an electronic machine and not a human.

Broken Android - Caleb Caming - EA 3rd Project

For this response I tried to incorperate binural beats as the basis for simple overtone harmony, all with in the key. Using the beating patterns created by the pure sine waves to create the taberal shifts underneath the "melody"

Kyle Naugle: Electroacoustic2 Response 1

My creative project is composed of musical samples mixed in garageband. The two lessons this project was centered around, since the presentation of the last project, were so dense with musical history and content that getting off the ground took several outlines. I began by scribbling combinations of songs in genre lists in my notebook and knew I wanted to hit an array of these categories in representing the history we’ve learned, so I basically just picked from all of them, very much unlike an actual dj mix. I grew up on dance music, but I wanted to give reference to the other categories of our recent response paper, so I tried to use classic hip-hop cuts and minimal synth-pop, the latter because we have had previous projects since watching the BBC documentary. There were too many classics I would have liked to sample but couldn’t, but I tried to use house and techno tracks that have resonated with me, and it is down this path of nostalgia that has encouraged me to force some good ol’ dubstep into our class, so for this I apologize but am not sorry. This is because we have now discussed much of the history from reggae to dub, garage, DnB, and jungle, that led up to dubstep, and I thought it would be good to push the historical pocket. Dubstep often employs motifs from its heritage and I layered King Tubby in during that section as a tribute to that. 

Works sampled:
-	Amen, Brother – The Winstons (1969)
-	A-Trak Boiler Room London set intro (2012) [samples Grandmaster Flash’s ‘It’s Nasty’ (1981)]
-	Let it Bump – Amine Edge & Dance (2013) [samples Missy Elliot track of same name (2003)]
-	Disco Nights – Vintage Culture (2013)
-	Crimewave – Crystal Castles (2008)
-	Dancing in the Dark (Galactica Remix) (1985)
-	Stranded on Death Row – Dr. Dre (1992)
-	Gimme the Loot – The Notorious B.I.G. (1994)
-	Rude Boy – Zeds Dead (2010)
-	Natty Dub – King Tubby (1975)
-	Destinations – Gesaffelstein (2013)
-	Woke – Tiga (2017)
-	The Perfect Kiss – New Order (1985)
-	Zeig mir wie Du tanzt – Frida Gold (Skrillex Remix) (2011)
-	The Adventures of Grandmaster Flash on the Wheels of Steel – Grandmaster Flash & The Furious Five (1982)
-	We Are Your Friends – Justice (2002)

Alec Segalman CP3

In an attempt to emulate electronic music I employed a variety of techniques that I've learned about over the semester:  I used arpeggiators, sweeping low pass filters, long fade ins/outs and audio samples (for all the drums and bass sounds).  I also tried to emulate the timbre of 8-bit synths (you can hear this sound enter for the first time around 2:06)

EA Final Project - Caleb Caming

For this response I made a poor attempt at Jamaican dub, however after starting and stopping this multiple times, I ended up covering an attempt at dub, early edm build ups, and sampling.

Kyle Naugle Response 3

In the documentary, The Art of Sounds, Pierre Henry describes the composition of Musique Concrète as the choosing of what sounds to use over others. As someone who is extremely new to composing electroacoustic music, I found this to be a very approachable technique for creating a piece. Therefore, while making this piece, I focused on using my ear to determine which sounds in my sample library I found to be pleasing (or purposefully displeasing), and tried to place them in a way which evokes visualization. For this piece, I was mainly inspired by "Fragments pour Artaud" by Pierre Henry and "Apostrophe" by Pierre Schaeffer. I really enjoy the ways in which these two artists contrast the sounds of new electronic instruments with classical instruments and percussive noises, and did my best to emulate this in my piece.

Creative Project One (Britney DiTocco)

The Bee Movie Trailer But Every Time They Say "Bee" it Slows Down, Becomes More Distorted, Intensifies Ring Modulator and Intensifies Reverb

The idea for this piece came from a discussion with my colleague about how many contemporary meme formats seem to carry elements also found in process oriented electro-acoustic pieces which came from the San Francisco Tape Music Center.  They put fourth that in some ways these memes could represent a spiritual successor to the compositions that come out of the SFTMC.   This parallel is especially clear in several meme formats that garnered a following from 2014 to about 2017 which all revolved around increasingly destroying a given piece of media until the original video is unrecognizable.  Examples of this include "The Bee Movie Trailer but every time they say 'Bee' it gets faster'" and "We are Number One but Every time they say 'we are number one' it gets louder ".  A few of these similarities include affecting a sample until it is completely unrecognizable, and pieces generated of a predetermined conceptual set of parameters.  Additionally the deliberately absurd nature of the memes embodies the spirit of pieces like "Great Grandpa Lemuel's"

Greg Hunter- The Bee Movie Trailer But Every Time They Say Bee (full title in description)

Throughout the lectures, there have been multiple references to Twelve tone music and serialist techniques, such as the works of Stockhausen. For this creative project, I chose to experiment with creating a simple composition, for two voices, using a tone row. I did this by arranging all twelve notes into an order, and using this row as the basis for my composition. I also experimented with putting the row in retrograde, inversion, and retrograde inversion. I split the row on occasion between the two voices, and also started the row later in the second voice to create polyphony.

Simple 12 Tone Composition- Britney DiTocco

For my final creative project, I wanted to draw inspiration from a few of my favorite artists from throughout the class, including Pierre Schaeffer, Pierre Henry, and Johanna M. Beyer. Beyer’s work, Music of the Spheres, slowly introduces electronic sounds one by one at the beginning of the piece. Although the sounds beginning my piece are slightly more organic sounding, I wanted to imitate this principal, as I feel as though it allows for development throughout the piece. 
	The rest of my piece draws heavily from the works of Pierre Henry, specifically his work, the Tenth Remix. Henry’s Tenth Remix combines the music of Beethoven with sounds of everyday life, such as sounds of war, city streets, and children yelling. This is meant to reference the milestones of someone’s life. I begin by placing ambient noise over a simple piano melody and some orchestral chatter. I then introduced the sound of an orchestra warmup, something I have always found to be quite pleasant. Imitating the work of Pierre Schaffer, I looped the out of tune strings, to mimic his famous work with tape looping. Them, drawing inspiration from Henry, I began to layer sounds on top of it. This is where I took influence from Luigi Russolo. In Russolo’s work, “The Futurist Manifesto,” he advocates for more modern sounds to become the “new orchestra,” as he feels that classical instruments did not represent the more industrial time during which he lived. Here I incorporated some sounds from Russolo’s “orchestra,” including explosions and banging on metal. This passage of my piece also includes the sounds of children playing and the sound of planes from World War Two. At the end, faded the piece out with an ambient synthesizer,  paired with the sounds of explosions to represent the calm after the storm.

DiTocco Electroacoustic Final

This project was inspired by the Electronic Dance Music we listened to in class. I tried to create a loop that followed the basic premises of dance music. I included a steady kick drum (four on the floor) and used only synthesizers and midi "drum machines" to create this piece. I also set the tempo to be 125, as most dance songs are between 120-150 bpm. The piece was particularly inspired by Kevin Saunderson's Tranzister. I made the song very square, and focused on creating multiple lines that weaved in and out to hold interest.

Britney DiTocco Electroacoustic II Creative Project One- EDM

In response to us learning about the drum machine, i made a drum loop with some weird electronic sounding samples. then i added more eerie atmospheric samples. after that, i took a delay pedal and made it self oscillate, then turned the delay time up and down. after that i hit the magic switch on a rainbow machine and turned the pitch and tracking up and down simultaneously. this created some weird wacky noises rooted with a foundation of electronica

Will Vellek Electroacoustic Project 1 Spring 2020

In this track I tried to showcase elements from the hip hop/turntable world and the EDM world. I only used 808 drum samples and it has an EDM 4 on the floor type drum beat. The open hat and clave were both syncopated and on the off beats like how they would be typically used in  a hip hop beat, and the kicks and claps follow a more traditional EDM style. There is also a piano melody, bassline, and some older sounding EDM synths that were all sidechained to the kick drum to make it pump a little more like a modern EDM track.

Steve Ramsingh Creative Project 1 (Dance EDM)

I made this track out of samples of ambient music i made on cassette tape and recordings from the library of congress. I wanted to make something that was dancy to some extent but I was more focused on texture.

James Keegan-Six ans sur mer (Proj 1)

I began this track with the intention of making a house track, but the initial few layers I laid down became at odds with any traditional beat as soon as I added in the delayed chords in the lower harmonic range.  I see this piece as being in the vein of Wendy Carlos.  The first documentary we watched spoke to her as branding synthesizers as cold and unwelcoming in the public eye.  Growing up with Kid A, this was not a new comparison for me.  Around thirty seconds into the track, the 4th synthesizer modulates into A major while the rest of the voices (excluding the aforementioned bass) exist in C major.  This synth works it's way back into C major a minute later, and flirts with an E major chord once more a minute or so later (which is prepared and reflected by the bass).  After this, consonant loops alleviate the established tension.

dawsongoodrich.submission1

“The Bronks!” (sic)  is a piece inspired by early sample based hip hop music.  To add another layer to the composition practice of recontextualizing recorded music through looped samples, I’ve elected to use drum breaks that I sampled from old school hip hop tunes, if effect sampling samples.  The samples used were the drums from Doug E Fresh’s “The Show” and DJ Kool’s live recording of Let Me Clear My Throat, featuring the beat-boxing of Biz Marquee.  The vocal sample is from an A capella Joni Mitchell song called “The Fiddle and the Drum”.  The only element that I recorded myself was the bass chorale that enters near the second half of the piece.

The Bronks!

In the documentary film we watched in the first class, musicians in the early 1980s associated the synth sounds to a cold future or a bleak future. So I also wanted to try to make the linkage between synth sounds and the idea of a cold future. To do this, I tried to imitate the styling of A Clockwork Orange soundtrack by Wendy Carlos. I went into GarageBand library and found similar sounds that they used, and then added some sound effects.

Dylan

Dylan Kim Creative Project 1

an unreleased trvsh song inspired by the tropes of genres such as house and garage, which inspire my creative process already. the chord progression was written for a Models VI assignment on suspended tonality, and I wrote the song around it, making sure the vocal switched keys during the chorus to emphasize the suspended tonality.

i just wanna make people dance yknow <3

udontgottabenobody (Spring 2020 creative project 1 - David McShea)

For this track I wanted to mix the ideas behind house music with drone music. I decided on using the raised 4th to the 5 to give it a more colder feel in relation to the key of F minor.

SUNY Purchase Electroacoustic Music

Popular tracks