clark henry-brown - ocean of sound proposal - 21221601

8/17/2019 Clark Henry-Brown - Ocean of Sound Proposal - 21221601

1/14

Experimental SoundAssessment 1: Project Proposal

mu60011e

2663 Words | Clark Henry-Brown | 21221601 February 2016

Ocean of Sound


2/14

By submitting this assessment for marking I declare that I:

1) have in my possession the correct documentation for this module, which I have

read and fully understand. *

2) understand the plagiarism regulations of the university.

3) understand the assessment regulations of the university.

4) understand the implications of using copyrighted material.

5) understand the deadlines associated with this module.


3/14

Contents

1. Project Title 1

2. Executive Summary

13. Experimental Audio Focus 2

3.1 Source Material 2

3.2 Structure 2

3.3 Experimental Approach 3

4. Project Meaning 4

5. Research 4

6. Ethical Issues

57. Copyright Issues 6

8.Project Content 6

9. Project Run Time Lengths 7

10. Finished Project Formats 7

11. UWL Resources Required 7

11.1 UWL Resources Access Time Required 8

12. Other Resources 8

12.1 Non-UWL Resources Access Time 8

12.2 Resource Availability 8

13. Weekly Schedule 9

14. Bibliography 11


4/14

1. Project Title

The project title, ’Ocean of Sound’, portrays the literal meaning of the intentions of the

project through wordplay (‘Ocean of Sound’ as opposed to ‘Sound of [the] Ocean’).

Moreover it effectively personifies the key aims of the project: an extensive soundtrack

based on scientific data, works of art, geographic data and literature on the subject of the

Ocean.

Furthermore, the imagery within the title allows a multitude of choice in terms of graphic

representation commercially in the case of a marketing campaign; specifically the brochure

required for the final assessment: portfolio.

2. Executive Summary

‘Ocean of Sound’ aims to establish a five-piece soundtrack on the subject of the Ocean, in

which the final artefact will be an all-encompassing portrait of the Atlantic, Pacific, Arctic,

Southern and Indian Oceans. Primarily, all aspects of composition and production will be

un-allured by conventional contemporary techniques: instead a soundscape will be

produced by statistical, fictional and artistic sources providing the foundations upon which‘Ocean of Sound’ will be created.

By combining a number of factors that often define the term ‘experimental’ when used in

relation to sound or music; an approach will be taken in which the Ocean is the key

component in the outcome of the sound as opposed to being a reference point for what ‘it

should sound-like’. Meaning that no direct creative input will be initiated and all sound

outcomes will be generated experimentally. Said factors will be determined throughresearching similar experimental methods such as the use of graphic scores, found

sounds and statistical representation in sonic form. The only sound source to be used will

be water, however the environment that it is recorded in can be varied. Whilst where

sounds appear in the final artefact are to be fully justified, in order to adhere to a

completely experimental approach.

The ‘Ocean of Sound’ is not to be misconstrued as a concept album of five separate

works, but a single-body of formulaic and experimental processes to define a sonic-art that

defines the ‘Ocean’. Each separate track will be created using the same formula however

1


5/14

certain contributing factors will change for each track to represent alternative locations —

each track will be representative of an Ocean. In doing so, I aim to amalgamate a purely

factual representation in sonic form of the Ocean, thus portraying: human perception,

environmental and scientific facts and the unknown of the Ocean.

All elements of the ‘Ocean of Sound’ will be intertwined with the core theme (the Ocean),

this is inclusive of the final USB hard drive and product brochure. The latter, will mirror and

therefore highlight the primary and secondary aims of the the artefact: to define an oceanic

soundscape and secondarily evaluate the concept and subtext produced in the process of

creation. Moreover, the product brochure will be a marketable and holistic overview of the

final project — which will largely illustrate ‘Ocean of Sound’ and it’s processes in a

promotional yet analytical format, avoiding the urge to ‘sell’ it as a product yet expoundingupon it’s theories and intentions to maintain comprehensibility to it’s audience.

3. Experimental Audio Focus

#

3.1 Source Material

The entirety of sounds throughout the artefact will be sourced from water, which may bemanipulated through varying processes determined purely by contributing experimental

data founded through research topics (discussed in section 3.2). Furthermore a number of

recording techniques will be explored to capture said water sources: a multitude of

microphones including the use of a hydrophone/s and varying materials and environments,

eg. water balloons, bath tubs, open water.

#

One of example of sound manipulation could be the use of the sound of water droplets,pitched by the interval of a minor 2nd and major 2nd of the original source to create a

harmonic pad. One semitone represents the single oxygen atom of water whilst 2

semitones represents the 2 hydrogen atoms within the chemical formula of water.

Following similar experimental approaches, the source material will amalgamate a

diversified soundscape through alternating approaches to each individual sound.

2


6/14

3.2 Structure

The structure of the piece will avoid conventional compositional methods; Landy (1991, p.

204) concedes that repetition is a taboo of experimental music within his book ‘What’s the

Matter with Today’s Experimental Music?’, which reenforces my choice to abolish popular

music form. The structure of the individual tracks of ‘Ocean of Sound’ will be entirely reliant

on organised sounds, determined through a number of factors:

• Scientific data, such as: the number of atoms in the chemical composition of water.

• Literary source, such as: the number of times the word ‘Ocean’ appears in

Hemingway’s (1994) ‘The Old Man and the Sea’.

• Art source, such as: the mean average of number of time the colour blue appears in‘The Great Wave’ (Hokusai, c.1830)

• Geographic Data, such as: coordinates of a specific Ocean location #

3.3 Experimental Approach

There will be no strict guidelines to these factors and the way in which they determine the

production of sounds, a number of ways can be considered:

a. individual factors determine where sounds enter and reenter

b. differing factors could be intertwined to regulate one specific sound

c. data could be converted and plotted in the form of a graphic score

#

Experimental sound can be construed in a number of ways, Landy (1991) lists four: post-

modernism; such as the 20th century avant-garde works of ‘Ligety’, musique-concrete,music in which the outcome cannot be foreseen and finally, music where the innovative

component (theme) takes priority above the general craftsmanship of the piece.

My own approach will be to research and analyse several methods of experimentalism and

develop a method in which these can be successfully undertaken that fit within the

elements of my theme/s. Although there will be no intentional direct manipulation of

sounds, there is undoubtedly a subconscious expectation of what I believe the ‘Ocean of

Sound’ to represent. Therefore, un-briefed individuals will be selected where there is a

performance aspect required. Specifically, this will relate to the use of graphic scores —

3


7/14

scores will need to exclude any direct representation of the Ocean in picture or text format

to produce an entirely unbiased outcome.

The final outcome of ‘Ocean of Sound’ should be epitomised by the exclusion of personal,

emotive and/or freely-composed ingredients and adhere to the formulated and thus

experimental approach set out within the brief.

4. Project meaning

Conceptually the ‘Ocean of Sound’ aims to explore the ‘Ocean’ through a number of

categories in relation to the core theme and thus conceptualises this theme sonically. To

fully embrace an experimental approach, a number of questions are set to be answered asopposed to determining themes and concepts — thus allowing discovery of these upon

progression of the project and likewise allowing a multi-faceted sonic artefact:

- Will the sonic outcome portray the ‘Ocean’ in any pre-conceivable way (will it sound like

the Ocean)?

- Will the Arctic and Southern Oceans sound ‘cold’?

- Will it include a sub-text? For example global warming’s effect upon increasing oceanlevels.

- Will the ‘Ocean of Sound’ project a journey for the listener through selected track-listing?

- Will constraints upon data limitation (more researchable knowledge on certain Oceans)

effect the outcome of the final artefact?

5. Research

A number of research subjects will be undertaken to allow the highest level of quality within

‘Ocean of Sound’. Whilst primarily studying the works of a range of other experimental

artists such as: John Cage, Pierre Schafer, György Ligeti and Laurie Anderson to name a

few. It will also be necessary to research factors such as project branding, sound

production techniques and art.

Despite my aforesaid(3.2) opposing viewpoints upon the use of popular music techniques

within ‘Ocean of Sound’, to make this a multi-dimensional artefact it is important to be

entirely open-minded to experimental approaches made by individuals regardless of their

4


8/14

field of expertise. Zagorski-Thomas (2014, p.49) describes the experimental approach

used by Max Martin in a popular Britney Spears track, where Martin samples a guiro

scrape on a Yamaha keyboard and combines the makeshift multi-sample instrument with

her vocal track to construct a ‘graspier’ top line.

Amongst Martin, there are a number of experimental individuals that portray inspirational

methodology — it is important to note that their respective fields and workflows are

contrasting, which evaluates the lack of subjectivity when working with ‘Experimental

Sound’. Thus, through research I aim to be inspired, however nonetheless develop my

own experimental approach.

Matthew Sergeant’s ‘Shell’ (2014) is an example of experimental work that takes analyticaldata and converts it into the sonic domain. Sergeant, using ‘phonetic material derived from

a colleague’s name’ uses a single tone and gradually removes pitch and results in the

eventual ‘shell’ of phonetic sounds. Conceptually, this can be perceived as the reflection of

subject of the composition: an ode to Sergeant’s colleague leaving the workplace in which

they shared. This, amongst other experimental artists (such as Nina Whiteman), who use

data to determine a sonic product, can be researched to aid the use of graphic scores

within my piece.

Moreover, in order to result in a strong conceptual artefact, significant steps will be taken

to portray unity across all aspects of the project. This will include undertaking significant

research upon the branding of the artefact, to enable a holistic outcome as opposed to

being purely based upon a sonic factors. This is highlighted by Harrison (2008, p. 166),

who underlines the importance of including intertwined branding for a project.

Finally, it will be largely important to undertake research upon the factors that determine

the source of data that will manipulate the soundscape and structure of my experimental

project. As previously mentioned, scientific data, geographic data, artwork and literary

works will be used to determine a number of outcomes within ‘Ocean of Sound’, therefore

these fields will be largely analysed to allow diversification of sound sources and

conceptual reference points.

#

5


9/14

6. Ethical Issues

‘Ocean of Sound’ sidesteps any great ethical issues as it largely focuses upon naturalistic

and factual elements; therefore the likelihood of offending a specific class or audience are

minimized. However, it is important to note all possible ethical issues and understand the

impact of these if any subject matter changes within my project.

There will be a number of minor ethical issues that ‘Ocean of Sound’ will encounter and

thus will need to be avoided to create a multi-faceted and reputable final artefact. It will be

necessary to use musicians who are unaware of the subject matter to produce an

unbiased performance of graphic scores. In these instances it will be necessary to ensure

that any partakers are either of studentship at the London College of Music, or the cost oftravel is covered and therefore are not financially affected by any collaboration.

Moreover, as the project is largely based around water it will be important to consider a

number of health and safety aspects. Especially if using University of West London

facilities, audio technicians should be made aware of the use of water in live rooms and

ensure that there is no risk entailed with any recordings. Likewise, any University facility

guidelines should be strictly followed, including: being prompt for studio sessions, noteating and/or drinking in the studio.

7. Copyright Issues

The primary copyright issues that will be encountered will be the use of sources used to

determine the outcome of sound, such as literary and art works. The Intellectual Property

Office (2014) states it is an infringement to ‘making an adaptation of the work’; despite the

fact original works will be unidentifiable in sonic form, to avoid any issues the work will not

be released commercially. Copyright does not apply to works used in research or private

study (Intellectual Property Office, 2014).

To avoid any copyright issues within the press release brochure, all images will be original

and created solely for the purpose of this assessment. Likewise samples will be originally

recorded.

6


10/14

8. Project Content

The final artefact will collectively include:

- 5 audio tracks in an uncompressed audio format, upon the conceptual basis of arespective ocean,

- an advertising brochure,

- any alternative supporting materials.

9. Project Run Time Lengths

‘Ocean of Sound’ run time lengths will be determined by an appropriate contributing factorunder the core theme which will become apparent through the discovery and

experimentalism of the project. More specifically, individual audio tracks will be at varying

lengths between 2-10 minutes and collectively at a a total run time length of approximately

30 - 50 minutes.

10. Finished Project Formats

Foreseeing that no problematic encounters occur with software and/or hardware, the

following project media and formats will be used upon final submission:

#

USB Harddrive:

- 5 separate audio .WAV files,

- press release brochure .PDF soft copy,

- final research essay .PDF soft copy (if required).

Press release brochure hardcopy.

11. UWL Resources Required

A number of UWL resources will aid in the completion of ‘Ocean of Sound’. A large amount

of research time will be required and therefore the use of Paul Hamlyn Library will be

paramount in the completion of all aspects of the final submission. Whereas it is possible

additional resources will be needed if my home studio does not meet the requirements of

7


11/14

the project — in this instance equipment will need to be hired from the ‘Media Resource

Centre’ or studios booked. These resources will be available to me within University

opening hours.

#

#

11.1 UWL Resources Access Time Required

12. Other Resources

Amongst the aforementioned resources, additional resources will be available to me

outside of University premises. Specifically, the resources required to complete the entirety

of the assessment will be: Pages, Adobe Photoshop, Logic Pro X, Microphones,

Headphones and the internet for research resources.

12.1 Non-UWL Resources Access Time

12.2 Resource Availability

Resource Notes (From week 5) Hours

Library At least 8 hours a week, includinghired book research time.

80 hours

Media Resource Centre If and when needed. 0 - 10 hours

London College of Music Studios 1 x 4 hour token any walk-insavailable.

4 - 8 hours

Total approx. 84 hours

Resource Notes (Week 5 onwards) Hours

Software At least 7 hours per week for trackproduction and PRB in final month

28

Studio Equipment 3 hours of recording per week 27

Internet 10 hours of research per week 100

Total 155

8


12/14

Through my home project studio all of the aforementioned resources are available,

namely: an iMac computer that contains all relevant software, a Saffire Pro 40 audio

interface, a multitude of large/small diaphragm condenser and dynamic microphones,

closed-back headphones for location recording, internet subscription, subscription to

online book resource websites ‘Safari’ and ‘Scribd’. The natural environment will be used

for recording of found sounds. All of these resources are available at my home, 24/7.

13. Weekly Schedule (week 1 to week 14)

As the planned process of the majority of ‘Ocean of Sound’ is chiefly formulaic, a large

amount of time will be taken researching and collating a library of found sounds. The

compositional aspect of arranging and manipulating these sounds, will take relatively lesstime due to the precise and methodical approach that has been set out.

9

Key

• Proposal: the proposal will coincide with

research and will largely be indirect study

through reading and methodological

mind maps (see attached).

• Recording: a large library of sounds will

be created firstly and this will be done

until an extensive library of sound files

are built. All sound samples will be the

product of water and it is important to

capture audio that completely adheres to

my set brief. Creating this sound library

will also include creating sound samples

that will be apparent in the final artefact,

however not structuring these in terms of

form until the final track plan is complete.

Week Proposal Recording

(Sound

Library

Collection)

Research Track

Production

1

2

3

4

5

6

7

8

9

10

11

12

13

14


13/14

10

• Research: subsequent to the proposal submission, this will largely be based around

the final submission ‘research essay’, in which I will research a number of proposed

ideas and consequently review these. Ideally, I will assess the works of others, analyse

how this is done and finally conclude upon whether this can/has contribute/d to ‘Ocean

of Sound’. This process also includes the production of the research essay and

brochure.

• Track Production: through research and recording I will determine a collective structure

that will effectively be reasoning to each singular sound and why it appears and when.

Undoubtedly, randomisation maybe used in certain instances but despite this

reasoning should nevertheless be included as to why randomisation is suitable in said

moments.


14/14

14. Bibliography

Harrison, A. (2008) Music: The business - the essential guide to the law and the deals . 6th

edn. London: Virgin Hardbacks.

Hemingway, E. (1994) The old man and the sea . London: Arrow Books.

Hokusai, K. (1830) Under the Wave off Kanagawa (The Great Wave) [Print]. Available at:

http://www.bbc.co.uk/ahistoryoftheworld/objects/MAPlqOEHRsmI1awIHQzRSQ

(Accessed: 21 February 2016).

Intellectual Property Office (2014) Intellectual property crime and infringement . Availableat: https://www.gov.uk/guidance/intellectual-property-crime-and-infringement (Accessed:

21 February 2016).

Landy, L. (1991) What’s the matter with today's experimental music? Organized sound too

rarely heard . Philadelphia: Harwood Academic Publishers.

Sergeant, M. (2014) Shell . Available at: http://www.matthewsergeant.com/solo#/shell/(Accessed: 21 February 2016).

Zagorski-Thomas, S. (2014) The Musicology of record production . United Kingdom:

Cambridge University Press.

11

clark henry-brown - ocean of sound proposal - 21221601

Documents