Listening Diary

Studio Composition 112

1233782

Studio Composition Listening Diary

Vocalise Trevor Wishart (1991)
The most striking first feature about this piece is the rather disturbing and unsettling alien
like vocals heard. This single vocal part grows in the first minute, creating a feeling of
confusion and unsettling nature. Breath noises are audible throughout the piece which
suggests that a human has recorded this. Background noise such as street traffic and people
coughing could lead the listener to believe that this has been recorded in a public place. As
the piece progresses, different techniques are used to create certain emotions and effects;
these are created just using vocal cords and different nuances of the mouth.
As far as added effects are concerned, it is easy to hear that no obvious effects or processes
have been added to any part of this piece; for example panning or reverb. However, it does
sound as if the different sections of the piece have been recorded separately and then
placed together. There is indeed a possibility as well that the background noises have been
added at a later stage, with the main vocal part being recorded in a studio. One can also
assume that the main vocal part of the piece is performed by a male due to the sonority and
deepness of the voice. It becomes apparent at the end of the recording on the CD that this
piece was indeed performed live, creating a very interesting performance.
(231)

VOX 5 Trevor Wishart (1986)

An obvious effect that the listener is instantly drawn to in this piece is the extensive use of
stereo panning. This creates a good sense of space and is certainly interesting to listen to.
The main resources of the piece are vocals. Various effects have been added to the voice
featured in this piece, including panning and pitch/frequency shifting. I particularly enjoy
the way the piece builds in a sort of arc format, starting off fairly quiet at the beginning of
the piece, but becoming increasingly frantic with more and more layered effects being
added to the piece. A noticeable feature of the piece is the lack of reverb, hence making the
piece feel very dry. In my opinion, I believe the piece as whole would benefit from reverb.
However, Wishart may have intended for the piece to be particularly echoless. Some
sounds can be heard to be elongated and stretched. It is also noticeable that some sort of
distortion effect has been used as well.
The piece in general gives an uneasy feeling as it is unpredictable and includes sounds that
the listener is not used to. This, in essence, could be the purpose of the piece. The vocal
part has been layered on top of multiple other parts with effects being used to create a
sense of interest and variety. Overall, the piece is effective due to the use of panning and
processed effects.
(236)

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Studio Composition 112
1233782

Hot Air Jonty Harrison (1995)

The piece first starts with an outside and nature feel, however soon is disturbed by a quick
panning effect on an unrecognizable sound. A wind like sound effect can be heard in the
background at all times, but becomes distorted within the first 2 minutes of the piece. The
deep sonority and pitch of this sound, in my opinion, is extremely effective at creating a
sense of atmosphere. A particular effect that is also effective is the glass like panning
effect; almost sounding like a bottle being rolled along the ground. This sound has been
processed using distorting and a band pass effect. This glass effect occurs throughout the
piece, and could be described as a reoccurring motif.
The piece creates a sense of vast atmosphere, leaving the listener feeling as if they are in
the middle of nowhere surrounded by nothing and emptiness. The sounds Harrison uses
throughout the piece are effectively processed to create this feeling. The title is very fitting
with the music found within the piece and the glass like effect as mention before could be
interpreted as a hot spark or something of a similar nature. Reverb is used throughout the
piece to, again, create this sense of vastness and emptiness. The piece could be said to be
easy to listen to as there are no surprises or unexpected parts to the piece, unlike those
found in VOX 5 by Wishart.
(236)

Divinits Paisibles Pierre Henry (1962)

This piece utilizes low sonorities and sounds very effectively. The first thing the listener
notices is the waves of sound creating a slow rocking back a forth motion. This piece is
eerily empty, almost as if one is standing inside a warehouse or swimming deep within the
ocean. It can be heard that distortion effects are used on the higher pitched sounds. This
is increasingly effective due to panning backwards and forwards. Reverb is used extensively
throughout the piece; this adds to the emptiness of the piece. Henry manages to create an
atmospheric and watery feel to the piece by processing the sounds in a fashion that
creates a rocking feeling.
Considering the piece was composed in a time where computers were essentially
nonexistent when the time that this piece was devised, it can be said that the effects and
processes applied to the sounds found within the piece are very intuitive and are ahead of
the pieces time. This adds to the sci-fi sounds that the piece emulates. If one closes their
eyes and listens to the piece, a new world can be discovered and it is possible to completely
empty your mind whilst listening to this piece. This is particularly astounding and this effect
can often not be recreated in other Electroacoustic pieces of music that are jittery and
unpredictable. Overall, I feel this piece is enlightening to listen to.
(232)

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Studio Composition 112
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Novars Francis Dhomont (1989)

The listeners attention is instantly captured with a falling sound that is processed with a lot
of reverb. This enables the sound to ring on and lead to the next part of the piece.
Unmeasured klangs and bangs are effective as flange has been added to them. A high
tremolo sound almost sounds as if it has been distorted; but still incredibly effective. The
piece remains like this for a couple of minutes, weaving in and out of these flangey bangs
and crashes. A new section occurs after this, utilizing effects such as panning to create
spatial awareness for the listener. This sounds like splashing and sloshing of water, which is
accompanied by the high tremolo sound making appearances every so often. The piece
builds and builds throughout this, creating an unnerving feeling.
An almost tonal section occurs near the end of the piece with what can only be described as
a bubbling of sounds followed by a low gong-like effect. The variety of the piece keeps the
listener interested, but the piece also involves reoccurring themes to ensure that this
happens as well. Other World sounds are used to again add to this unnerving effect. Most
of the sounds featured in this piece are long sustained sounds that once hit usually ring on
for a fair while. It is interesting to hear that a choir is briefly introduced near to the end of
the piece. The piece maintains an eerie feel throughout its duration, and maintains a sense
of heaviness in the texture.
(254)