This week we had some of the 3rd year composers show us compositions they were working on.
The first composer up was Andrew Clarke. He had done a composition for a short film called "In Dreams". It was a short B/W film about the mundane existence of a melancholy office worker who would go about his day, have socially awkward interactions with his love interest at the office, then go home and have these plot point driven dreams. The music moved between an ambient piano sound - to underline the mood of the characters life - and gloriously luscious strings during the dream sequences. I thought Andrew did a great job with the scoring - although he mentioned a shorting of a scene that affected the score - and it delivered the moods designated to the scenes by the director.
Next up was Katie Campbell who had recently returned from a tour of Europe. In this demonstration she used her new synchronator to visually accompany the electronic music she was improvising. Because of my knowledge (lack thereof) in producing electronic music it was interesting to see how she was creating it and the way the synchronator was responding to the music. She had used Ableton to create the piece this made me inspired to explore DAW's and try and make some sense of them.
Henry Gillet was beckoned down from the seats to be the next composer cross-examined. The piece he played was a mix of found sounds and feedback - sourced from vinyl, tape samples and field recordings. To make use of what was at his fingertips he used pitch shifting on both digital and analogue devices which both have very different qualities. A concept he envisioned while composing this electronic work was the tactile response the piece would give the audience. This was not something I was able to enjoy - possibly due to my limited exposure to electronic pieces. That said the piece was ominous but very texturally rich and very
Next up was Katie Campbell who had recently returned from a tour of Europe. In this demonstration she used her new synchronator to visually accompany the electronic music she was improvising. Because of my knowledge (lack thereof) in producing electronic music it was interesting to see how she was creating it and the way the synchronator was responding to the music. She had used Ableton to create the piece this made me inspired to explore DAW's and try and make some sense of them.
Henry Gillet was beckoned down from the seats to be the next composer cross-examined. The piece he played was a mix of found sounds and feedback - sourced from vinyl, tape samples and field recordings. To make use of what was at his fingertips he used pitch shifting on both digital and analogue devices which both have very different qualities. A concept he envisioned while composing this electronic work was the tactile response the piece would give the audience. This was not something I was able to enjoy - possibly due to my limited exposure to electronic pieces. That said the piece was ominous but very texturally rich and very