I got some suggestions for changes in this week’s presentation. The first is the percussion sound at the beginning, it is not in sync with the picture and I need to make them consistent. Secondly, there needs to be some seagull sounds and human voices (ambient) in the background. Some wind sounds need to be added to the sky.
The hit sounds are consistent with the picture.
I added the sound of the wind and some wing stirring. This makes the overall sound richer.
Some of the VR films currently available are ‘ABE VR’ and ‘HELP’
I was looking up and VR related material and came across the content. As I am personally inclined to work in film scoring in the future, VR film is also a direction I may come across, as the name implies the use of panoramic filming to expand the space of the picture, the distinction between in-picture and out-picture space no longer comes from the director’s restriction of the viewer’s field of vision, but from the viewer’s own choice. Sound and picture must be perfectly matched in terms of spatial relationship, accurate positioning and a sense of space, including the positioning and presentation of sound horizontally, vertically and vertically. I believe that sound production needs to take into account every source of sound in the panoramic image, so that there is no longer a distinction between in- and out-of-frame, and that the sound from every direction may become the focus of the audience’s attention. It was a very interesting project, and it made me think about how the soundtrack can act as a propeller of the overall atmosphere when people are watching the film from a third perspective. However, when the viewer is in the first view of the film the soundtrack should be diminished (ambient sound over background sound) to give the viewer a greater sense of immersion.
But in any case, the VR mode of film viewing heightens the audience’s sensitivity to sound and places greater demands on sound production. Sound detail needs to be further enhanced, detailed sound effects are useful to enhance realism and immersion, and the accurate positioning of object-based sound keeps the audience from getting lost in the process of finding the sound source. Sound is one of the most important organs of perception, and if the sound and soundtrack are well crafted they can be immersive. The important technique is to give the sound a sense of space and accuracy to the scene the audience is in.
The use of head tracking allows the sound to interact with the viewer’s perspective, making the audience believe that the sound exists independently of the space they are seeing. This is the same sense of spatiality that I mentioned in my previous blog, where the spatiality of VR sound is based on a three-dimensional space, and the person in the sound field needs to feel the reflections from all directions, both horizontally and vertically, to get the illusion of being there. There is also the enhancement of detailed sounds and ambient sounds, and the exaggeration of small sounds to make them more impactful.
All in all, I have a lot to learn. I’ll also be working on more software in this area, including Head-Tracking and the like. This collaborative project has really given me a lot of food for thought about my future plans.
This project was a collaborative project with animation students. The difference with seagulls (VR) is that when I approached seagulls they were about 70% done and the animation team was just at the beginning. I can say that I was involved in every stage of the anime, from the first draft idea -> the first version of the music -> the second version of the music, there was a lot of communication. Jingya was in charge of the ambient sound and mixing for this project, and I was in charge of the music. This is my first draft of the music for the anime.
Music:
None or give a short melody in the first twelve seconds when entering the forest (it can be the main melody of the theme song, and the theme song can be placed at the end when the staff list comes out)
There are two places where the music is very much in contrast to the first version and I have made significant changes. The first is the opening music. Because the animation is so short, the opening music basically sets the general direction of the melody of the short. My first version used Tone Hammer so it sounded upbeat and had a light-hearted feel to it. However, when I saw that the final tone was dark and the story was thought-provoking, I changed the music. The second area of change was the monster. The drums sounded too monotonous and had no resonance, so I added some sound effects and removed the drums. After discussing the effect with them it was the second version of the draft that was created. There is a clear difference in comparison with the old version.
Finally the complete version came out after more careful adjustments
Final Version
Yang Hongguang (2018) points out that ‘The Veil’ (2005) is an important exploration of the use of traditional Chinese musical elements in foreign film music.
The Veil’ (2005) is a significant exploration of the application and practice of traditional Chinese musical elements in foreign film music.
In addition, the Xi Pi introduction of the second scene of the Peking opera ‘Yutangchun – Su San Qi Jie’, heard at 16’31” in the film, ‘Yutangchun with tears of sorrow ……’, is transferred to the Xi Pi slow movement ‘Remembering…’. …”, Su San’s sorrowful reproach for her unfaithful husband and her sorrowful lament for her fate are profoundly “analyzed and interpreted” by Charlie, who is used to love affairs, thus setting the stage for Katie’s infidelity and driving the narrative process of the film. Although the Chinese opera songs serve as a far-fetched illustration of Charlie’s compulsion, Katie eventually finds her way back to the spirit of self-redemption and true love in her exile in the epidemic-stricken town of southwest China. However, as a whole, the film still shows a divide, a contrast and even a dislocation between Chinese and foreign musical cultures in its use of traditional Chinese musical elements, and this creates a dramatic narrative.
I chose this film for E2 for the simple reason that although it is not as well known as The Last Emperor or Kung Fu Panda, it is still a film that finds innovative ways of thinking about the integration of Chinese musical elements into Western cinema. My excerpt is from the opening scene of the film plus the arrival of the two main characters in China. I chose this sequence because there is no dialogue throughout and I could simply deal with the original sound of the film. Secondly it is very graphic, with a lot of back and forth. Because I made the music first and then searched for the film, there was a lot of misalignment at first when I was working on the sound and picture combination, but then I adjusted the drums a bit. I adjusted the drumbeat so that the classical sound was in sync with the water drops in the picture and also modified the melody. So in the final product you can hear the guzheng, erhu and pipa, instruments that are often used in Chinese soundtracks in western films. You can also hear black pipes, drums and pianos, which have a Western character. However, the ambient sounds at 1:54 at the end of the video were added by me at a later stage, in fact I wanted to mute all the sounds and add only the music. However, when I sent the music-only version to my friends, they said it felt strange, like the music was hovering over the video, and suggested I add some ambient sounds to make sure the music was connected to the picture. I followed their advice and after adding some background sounds it became much better.
There are a number of things I need to improve on for this assignment. The first thing is that I think I should have added more Chinese elements to the piece. I did add traditional Chinese instruments to the piece and the audience will notice the very Chinese sounds when they hear it. But I think the Chinese elements are a bit superficial this time. It doesn’t seem to give the audience a strong sense of China-related images when you look at the melody alone without the added effect of the traditional Chinese instruments. This is something I need to improve on and I need to strengthen my skills in this area. In my free time, I need to work more on the melodic side of things. I need to make sure that I can do better on my next assignment than I did this time and make progress.
In terms of some future plans I guess I’ll be more from fitting in a career related to arranging music. It’s something I’ve always wanted to do and I’ve been studying with that in mind. Ever since I settled on it in the second half of my second year of university I’ve wanted to keep working in that direction. I set myself another requirement to write one piece a month, not strictly music of course, just some of my own exercises to link some chord combinations. I’ve also been taking some online classes to make sure I’m learning things in the right direction.
I found some very interesting vr projects when I was looking for vr games. The first is Soundstage which is a virtual music production studio based on VR technology. With features such as virtual instrument playing, recording and mixing production, it can mimic the professional music studio that musicians need. For example, MIDI keyboards, Roland 808s and a range of synthesizers are at your fingertips. You can also choose to use various instruments in this app, such as drums and electric piano, while experiencing the virtual world of matching and connecting these instruments together with glowing virtual cables, an experience you won’t find in production software in the past. I think this is really interesting, as you can really experience the physical properties of the devices, instruments and cables in the virtual world without any worries, as well as the realism of hitting the instruments.
The second game is Block Rocking Beats, a VR music app released in early July 2017. In this app, users can create music using instruments such as drums and guitars, as well as post-production such as mixing, but what makes it most special is that it supports multiple people creating at the same time and allows those people to communicate in real time, effectively, and share their ideas in creating electronic music. The design of the finished music compositions in this app, which can be saved and downloaded to other platforms for further use, makes perfect sense. When it comes to music technology and creation, it also has several features to be improved, and the developers say that subsequent versions will also support sharing the music they create to other users.
In such a music studio, creators can select various virtual instruments and their timbres, and enter notes or electronic sound samples into virtual tracks and sequencers, or record virtual instruments being played in order to compose. The basic principles of electronic music composition do not change much here. On this basis, further code detailing is required by the developers for the different ways of playing the different instruments, a step which is also clearly possible. For example, to play a violin in a virtual world involves techniques such as holding and dribbling the bow and pressing the strings with your fingers, which is currently implemented in a bowling-themed game for the HTC Vive. In this game, you can use the controller with the joystick to play the game. In this game, picking up the bowling ball on the ground in the virtual world with the joystick controller is almost identical in code to picking up the bow with the joystick controller; the action of swinging the bowling ball, then swinging it forward and finally throwing it, is also very similar to the bowing action of a violin, except that in the case of the bowling ball, a parabolic design is used, whereas in the case of the violin, the angle of the bow is taken into account. The change.
I think that in the development of the vr program it would be possible to create a special playing mode for creators who do not play the instrument, and also play it with acceptable quality. For example, the user does not need to use the real playing string press to achieve the sound effect at that force. Engineers could even develop a function that would automatically process the technical aspects of the intensity of each note played by the player, possibly using some of the results of artificial intelligence. The technical aspects of music composition in VR still need to be improved, and boldly so, and the spectacle value of VR performance will require higher demands in terms of the quality of the sound of the virtual instruments, the sensitivity of the playing operations, the aesthetics of the playing environment, and so on. Having a full range of virtual music creation studios on top of the technical implementation would be a great convenience for the electronic music business. I would love to try it out.
MA, Communications Art & Design, Royal College of Art, London
BA Honours, Sonic Arts, Middlesex University, London
PhD in-progress, GSA, Glasgow
Lo-fi. Field Recordings. Collage. Sculpture. Installation. Expanded Cinema. Photography. Time Medias. Printed Material. Hacking Culture. Interactive Technologies. AI. VR. AR. Gesture Sound. Mesmerism. Post New Age. Post Net Clara Rockmore. Perspective. Immersion. Affect.
lesliedeere.com. 2022. Modern Conjuring for Amateurs | lesliedeere.com. [online] Available at: <https://lesliedeere.com/modern_conjuring.html> [Accessed 16 May 2022].
I found this project very interesting. The purpose of this study is to induce an altered state of consciousness by utilising Using music, frequency, light, and the colour spectrum, this piece tries to produce a peaceful or contemplative As the artist travels about the venue, dazzling ribbons of colour appear and are sent to audience headsets. Sounds and tones are produced in unison with the performer’s motions and are broadcast over a high-quality audio system. The vr experience is not just for one person. The vr experience is no longer for one person, but for a group of people. Everyone can experience it at the same time through this vr game. Similarly Leslie Deere has taken great care in the sound aspect of the vr game. There is a variety of instruments used including harps and cello’s, as well as some vocals added in. The overall feel of the music is ethereal and I personally feel that there is a bit of a religious choral element to it. These combined with the colourful vr graphics I felt went very well together. It gave me a very strong sense of immersion. Overall I thought it was amazing and fascinating.
What I can learn from this is the concept of group vr. This kind of interactive game is very appealing to me. I’ve seen some videos with group vr before but they weren’t as interactive as this one, more other people watching the vr performers on a TV screen rather than all wearing vr’s. I think Array Infinitive brings a little more immersion to the viewer. But I think Array Infinitive is more of a vr show than a vr game. The audience can immerse themselves in her performance, and every movement and every pose of the artist can bring the audience a different visual and auditory experience. Inspired by the video ‘Array Infinitive: VR performance by Leslie Deere’ I think the vocal padding and a little bit of reverb really makes a difference to the overall atmosphere of the music. Especially in a somewhat abstract visual art. So I tried adding some vocal melodies to some of my previous music (some half-finished pieces) and it made the whole thing sound a bit different. The whole thing sounded a lot more complete.
The theme music for Mulan (1998), which opens in parallel with the ink and landscape scenes, is in the key of G, based on traditional Chinese musical elements and forged by the orchestra and chorus. In the passage where Mulan meets the matchmaker (6.07), the tempo of the Main Title is increased by a factor of 1.7, and this gives rise to the song Honor to us all. The use of Xuanxu tune, chorus, reprise, solo and unison singing in the song not only reflects the traditional Chinese music concept of composition and structure, in which the core tone remains the same but the overall tempo changes gradually, but also the use of various forms of Xuanxu tune, chorus, reprise, solo and unison singing in the song makes the traditional Chinese music elements, in terms of technical vocabulary and sound concept, become certain structural elements, and in the background The use of traditional Chinese musical elements, both in terms of technical vocabulary and acoustic concepts, has been elevated to a certain structural element, and in the background they are involved in the plot and the dramatic conflict, thus highlighting an innovative quality in terms of stylistic expression that is different from that of the 80s. The film’s Chinese story is structured in a way that still reflects the artistic style of Disney’s animated films. For example, although the traditional Chinese musical elements are orchestrated to create a three-dimensional and full-bodied sound world, thus allowing for a deeper exploration and enrichment of the traditional culture, the strong blues style of the film and the modern rock music grouping also convey an imaginative and pan-Chinese humanistic context. In addition, the first half of the film focuses on four songs embedded in the narrative, which are sung by the female protagonist alone, as well as in mixed chorus, male and female vocal rounds, and in the form of a harmony between the main song and the chorus. These song-like and musical genre designs bring the film closer to the traditional Hollywood song-and-dance genre, while at the same time allowing the ancient Chinese traditional music elements to confront and compromise with them, gaining new modern qualities and audiovisual aesthetics.
The German writer on music and composer, Walter Niemann, was a pupil of his father, Rudolph (Friedrich) Niemann, and of Engelbert Humperdinck (1897). From 1898 to 1901, studied at the Leipzig Conservatory with Reinecke and von Bose, and at the University of Leipzig with Riemann and Hermann Kretzschmar (musicology). He received a Ph.D. in 1901 with the dissertation Über die abweichende Bedeutung der Ligaturen in der Mensuraltheorie der Zeit vor johannes de Garlandia (published in Leipzig, 1902).
2022. [online] Available at: <https://www.cafeoto.co.uk/artists/makoto-oshiro/>
He wrote The Garden of Orchid, which contains ten piano miniatures with oriental overtones. The eighth of which, In der Chinesenstadt, is the composer’s interpretation of elements of Chinese music. The piece uses repetition and displacement of melodic motives to present a fragmented melodic line and to create a tense acoustic effect. The chromatic structure of the progressions is present in abundance and the syncopated rhythm of the second half beat of the eighth note sets the melody apart from the traditional colours. There is not much of a pentatonic composition to be seen in Niemann’s piece, nor are there any other obvious Chinese musical elements. Niemann uses the title as a contextual guide to present his innermost understanding of the Chinese elements in the piece. Perhaps, in Nyman’s mind, these are the Chinese elements that he perceives.
In 1919, Niemann published another work, Alt-Chinese (Op. 62). On the title page of the publication Niemann wrote: “What is described here is in no way a portrayal of China through the intentional use of unguided pentatonic and whole-tone scales, as well as rare rhythms and other primitive devices in exotic music; the Chineseness here is only partly reflected in the fine, strange and exotic fairy-tale atmosphere from the far East and in the simple simplicity of the musical elements that may form the charm.” There is still not much Chinese musical material such as pentatonic tuning to be seen in this repertoire. Niemann tries to guide the performer and the listener through a mood to experience the Chinese elements, or rather to understand this so-called Chinese style of Western piano works.
Samson Young (b.1979) is a composer, sound artist and media artist. Young received training in computer music and composition at Princeton University under the supervision of computer music pioneer Paul Lansky. He is currently an assistant professor in sonic art and physical computing at the School of Creative Media, City University of Hong Kong. Young is also the principle investigator at the Laboratory for Ubiquitous Musical Expression (L.U.M.E), and artistic director of the experimental sound advocacy organization Contemporary Musiking. In 2007, he became the first from Hong Kong to receive the Bloomberg Emerging Artist Award for his audio-visual project “The Happiest Hour”. His brainwave non-performance “I am thinking in a room, different from the one you are hearing in now” received a Jury Selection award at the Japan Media Art Festival, and an honorary mention at the digital music and sound art category of Prix Ars Electronica.
Fkawdw.nl. 2022. Samson Young – Participants – FKA Witte de With. [online] Available at: <https://www.fkawdw.nl/en/participants/samson_young>.
I did some research on him after listening to Thursday’s lecture. I found that his compositions are often created in a musical context, meaning that music is the language in which he interprets the abstract world. His work extends from music and sound to a variety of media, constantly expanding the degree and possibilities of access to abstract issues. Composing from different dimensions, the listener is left to savor the social and cultural dimensions they imply, and as Samson Young himself says, “I often respond to the surrounding context, and that never changes.”
I think this video gives us a better understanding of his creative ideas and process. In this video he also thinks about the arrangements and possible situations that could happen in order to complete his final piece. This video also make me feel that the creation of a piece of art is similar to the steps of a science experiment.
I got a lot of suggestions and things to change in this tutorial. There are two areas where I need to make the most changes, i.e. where I have the most problems. The first is that I need to clean up some of the ambient sounds in the audio. This is because some of the ambient sounds are overlaid on top of each other, making the whole audio sound confusing and the presentation not very clear. The second is the change in the background music. This is because there is a mini-game included in this vr game. The shift in sound between the two games needs to be a more pronounced change for the player. This would make the whole soundscape sound richer.
I also got some advice about the blog. I can put together a list of what I need to read each week and post my thoughts.