my funny enitnelaV

As if I didn’t is a made-up soundscape of a dream. Composed of field recordings, it tells a story of an individual’s struggle with waking up, as the person in the composition tries to find her way through a synthetic environment of abstract and real objects. The piece starts with a gloomy atmosphere that includes very few representational sounds. But as the piece moves forward, a balance between concrete and abstract sounds emerge to signal the individuals’ “ascent” to consciousness, This consciousness, however, swings back and forth between reality and a dream. The final gesture blows the whistle on the narrative of the piece.

As If I Didn't

Suck your blood is about a busy mosquito which tries to find a human to feed on blood and then takes the blood to the blood factory where all other mosquitoes are uniting.

Suck Your Blood

CONCERT PROGRAM 
Thursday, April 21, 2022 at 10:30 am, MTL

PAT 200/500: Introduction to Electronic Music Production Showcase
Instructor: Dr. Zeynep Özcan



Salvador Flores - Flight
Through my composition, I try to express the concept of flight. In my mind, this is sort of a sequel to my last composition “Sitting in the Clouds”. We stand up, jump from the clouds and begin learning to fly. The journey starts very relaxed and slow, gaining speed and intensity as we get better and more comfortable with flight. This composition features Justin Brown on the Electric Guitar and me on the Alto Saxophone. I hope you enjoy!

Akasha Gahol - Better Without You
I was listening to a song the other day that kept repeating the line, "better without you" and I couldn't get it out of my head. So, I decided to incorporate this line and the idea of repetition in my composition, but in my own creative way. I also wanted to experiment with adding vocals to my composition. Enjoy!

Natalia Camargo - To the beat
The piece tries to incorporate all elements learned on Ableton focusing on explorations with beat, looping and sampling of my own voice, using several effects and different analog instruments. The name came after I added the voice saying "to the beat", which became an important aspect of the piece.

Zelda Hu - Fish Party
I am picturing the scenario of fish groups under the sea that I saw in Cancun, Mexico. I love the dynamic and the freedom I felt from these little creatures.

Minseo Kim -  The Maze Runner
The reason why I name my composition this because I was inspired from the maze game and created this composition based on imagination of standing in a maze. Through sound adding gradually, it goes climax and disappears one by one. And only the main theme remain calm at the end. 

Heeseung Lee - Chocolate Milk 
This composition expresses sweetness of music. (And I drank chocolate milk every time I worked on this piece :D)

Zejun Wu - Other Than Virtual
Here is supposed to be a music piece of philosophical debate/dialogue on technologies - no matter it is artificial intelligence or virtual reality. I am a huge fan of mixed reality and virtual things, but at the same time, I doubt and criticize all those new forms of media and technologies at a media study level. It is a talk from a robot, a virtual character - feel free to imagine anything when listening to my piece.

Ellé: Nocturnal City Walk
I decided I wanted to explore colorful timbres of acoustic instruments alongside more techno sounds. To create a narrative for this acoustic journey, I imagined walking through a bustling tourist town on a summer night, with all the sounds of street vendors, restaurants and bars pouring into the street and mixing together.

Yangqin Yan - Lonely Adventure
This piece expresses the loneliness of exploring the unknown alone. Sometimes a new discovery will make you very happy. Sometimes the journey is relaxed and peaceful. However, there is no company, which will bring a faint sorrow.

Yiwen - Relic
I named the composition with the concept of creating a feeling of floating in the outer space or another dimension. I envisioned the world in 3024 and what the humankind will be like, all the cultures will be demolished and become relics. New human kind will live as digital creatures.

Emma Laible - Vox Aria
Beginning this piece, I knew I wanted to incorporate a repeated vocal line with a fluid sound throughout the piece. I wanted to demonstrate the power and depth of a vocal line and how it can be interpreted and contextualized in many different ways due to the surrounding instrumentation. I hope you enjoy!

Luca Bommarito - Is This The End?
I named my composition this because I wanted to try doing a bit of vocal sampling and processing. The sample I chose says "is this the end?" and I feel like the piece wasn't complete without it.

PAT200/500-004 Showcase Playlist

Disseminate(excerpt)

Performers: 
Electronics - Zeynep özcan
Voice - Ulaş Sona

Butka can be used as referring to the elite in Lubunca which is the language/argot of Turkey’s LGBTQ community. Butka is usually used for smarty, brag, beautiful or rich people. Depending on the context, it can be used as an insult, a desire for something or implying high class (in a sarcastic way) events or people. I used a scripted scenario and performer (a hidden audience) during the performance. The performer used the script and also improvised during the performance. The piece was first performed in a no-light environment with a seated audience. After the performance, the lights turned on and I showed the audience the performer who sat in the middle of them. Some of them looked surprised. One of them (the one who sat next to the performer) told me that he thought I used wave field synthesis because he heard the takings in the composition as if someone was sitting next to him (which literally was the case). I also observed that some of the audience tried to silence the performer during the performance because they thought she was being disrespectful by talking on the phone with someone else (that was also part of the script).

Smoke And Mirrors (Butka)

Connotation is composed from the recorded material (e.g. trumpet) that has been electronically manipulated and Frequency Modulation implemented in MAX. I tried to eliminate the source of the sound as much as possible. Instead of following a story that I try to tell, this time, I wanted the audience imagine based on their previous experiences about sound. Additionally, I tried to impose traditional musical form to create a sense of structure and association.

Connotation

Inconnu is composed for 20-channels. Each sound (20 different entities in my imagination) is designed for separate speakers, but each channel is considered to be laid out in a linear fashion where one sound could only travel into adjacent channels, implying a strict directionality. However, the loudspeakers for the performance are placed on separate levels and asymmetrical spots in the construction in a non-linear fashion. Furthermore, when the piece travels in space, the structure itself adds various effects beyond what the composition affords and further interrupts the linearity of the sonic trajectories.  Through the specialization scheme I follow for the performance of the piece, I aim to obscure the trajectories I determined during the composition process.  By blurring these trajectories with an uneven dispersion of speakers and the resonant characteristics of the structure, I choreograph a metaphor for how an individual’s path should be ambiguous and distinctive. Still, through close listening, the audience can untangle this ambiguity and recognize the underlying trajectories that are deeply embedded into the composition.

Inconnu(stereo version)

Sound Example 2: Audience filtering the ambient noise

Sound Example 3: Sound of Plants

Sound Example 7: Scene 1

Sound Example 10: Scene 3

Sound Example 12: Scene 5

Sound Example 14: Scene 5

When a new level of species is introduced into the system, the sound of a new layer sends the previous layers of sound to the background for a while by reducing the amplitude of an organism.

Zeynep Özcan

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