Wednesday, December 16, 2009
Monday, December 7, 2009
"Final Essay: Judy Dunaway"
“Surabaya” (6:07):
Original composition by Kurt Weill (“Surabaya Johnny”). Arranged by Judy Dunaway. Judy Dunaway on balloons as reeds. David Hanson on keyboard (balloon samples).
Joseph Skow
Film 116
11/16/2009
Final Essay
“Judy Dunaway”
Known popularly for her sound work with latex balloons; composer, improviser, and conceptual artist, Judy Dunaway (The “Mother of Balloon Music”), has been using balloons since 1990 as her instrument of choice. Since her first experimentation, Dunaway has composed over thirty works for balloons as instruments. Her approach to working with sound is very Avant-Garde, very experimental. This fascination with “balloon music” is based on the “infinitely complex harmonic overtones,” that can be created from pressure and movement of her hands, on the “taut skin of an inflated latex balloon”(Phillips 2). Quoting one of her album reviews from the modern music magazine, “The Wire”, David Keenan states, "At times it sounds like Charles Gayle blowing over houses or Ornette Coleman on amphetamines fiddling at the Town Hall"(Keenan 5). As harsh as some of her pieces can sound the first time around, there’s no doubt she’s able to create something genius from the most unlikely of sources.
Born in Mississippi (1964), Dunaway went on to study music at the University of New York-Stony Brook, where she graduated with a Ph.D. in Music Composition. She also holds a M.A. in Experimental Music from Wesleyan University, and a B.S. in Music Education from Hunter College. Through her studies, she found herself under the wing of talents such as, analog electronic music composer, Daria Semegen, multimedia artist, Christa Erickson, and composer, Alvin Lucier. Dunaway has since used her diverse education to create a unique sound; influenced by rock, salsa, country, blues, and noise, through the use of balloons, bottlebrushes, vibrators, string quartets, choruses, the Japanese koto, and an assortment of other traditional, and untraditional instruments. Her resulting compositions are often filled with free improvisation and irregular rhythms.
In many cases, her work investigates social activism, or cultural critique; as well as history and politics, with songs themed around monsters, nudity, death, and immigration. For example, some of her work expresses the repression of Brazil’s indigenous rubber farmers, in other pieces, the destruction of the rainforest. This interpretation of sound/song is based on rejecting the traditional scales of Western music, in return, making the balloons “cry”. Reflecting on her work, Dunaway states, "… if anything, it's the Amazon speaking; it's the Earth speaking; it's the Earth screaming; the Earth saying, 'Stop!' So in that sense, I am just a conduit, and I try very much to follow that 'voice'"(Phillips 2). It is through Dunaway’s unique choices in artistic expression that she hopes to help others perceive in unaccustomed ways.
For my sound analysis I chose one of Dunaway’s unreleased balloon tracks titled, “Surabaya” (6:07). This was one of her pieces I was particularly fond of. “Surabaya” is based on an arrangement of Kurt Weill’s original composition, “Surabaya Johnny,” from the musical “Happy End”(1929). The original song tells the story of a woman’s heartache, resulting from her ongoing love for a man, and his betrayal concerning unfulfilled promises of happiness. “Sung by an innocent seduced, and deflowered by an itinerant intercontinental, Mack the Knife…builds into a highly dramatic, deeply felt, and wholly ironic climax, before collapsing into an apathetic and bathetic ballade in its chorus. A hideously beautiful and wonderfully disgusting song…”(Classical Archives 2).
This was one of the very few pieces by Dunaway where the “scratchy,” “harsh,” quality to her work was quickly accepted. It was almost as if the song was originally created for balloons, and at the very least, her arrangement undeniably matches the performance. In 1999 Dunaway recorded balloon samples for her experimental arrangement at the Wesleyan University electronic music studios. David Hanson then performed these samples on keyboard for the final recording, accompanying Dunaway on balloons as reeds.
Dunaway’s recording of “Surabaya” creates the perfect emotional theme, matching its original heartwrenching intentions, with the cries of the live and sampled balloons. For those that are familiar with “Surabaya Johnny,” Dunaway’s arrangement replaces the lyrics, and their otherwise passionate delivery, with an equally, if not more compelling meaning, through pure instrumentation. Specifically the chorus, where the woman pleas, searching for reason in her pain, bleeds through in a way unachievable with a human voice. Dunaway’s sincere consideration of emotion and musical perception transforms “Surabaya Johnny” into its purest form; it’s purest feeling. The sound quality is comparable to that of nails scratching on a chalkboard, and rightfully so. I can’t think of a more perfect sound to match Kurt Weill’s intentions.
Judy Dunaway is currently a Visiting Lecturer in the Critical Studies Department at Massachusetts College of Art. Most recently, she founded a not-for-profit educational webcast for audio art and activism concerning the rights of sex workers called "Sex Workers' Internet Radio Lounge." Through Dunaway’s experimentation, she found success in pushing the boundaries of traditional music, and the ongoing exploration of sound. Of course, the majority of her work is originally straining on the ears, but after thoughtful consideration of her purpose, it quickly turns into a tolerable, intriguing, perception of the world around us.
Bibliography/Work Cited
Magazine
Keenan, David. "Review in Brief of "Balloon Music" CD on CRI ." The Wire: Adventure in Modern Music Nov.-Nov. 1998: 5
Professional Journal
Phillips, Adam. "Avant-Garde Music for Toys, 'Playing' in New York." Voice of America Unlisted (2009): 1-2. VOA News. U.S. Government. 14 Nov. 2009
Internet
Classical Archives. 7 Dec. 2008. All Media Guide, LLC. 14 Nov. 2009
Dunaway, Judy. Judy Dunaway's Myspace Page. 2009 14 Nov. 2009
Dunaway, Judy. Judy Dunaway. 24 Nov. 2008. 14 Nov. 2009
Dunaway, Judy. Judy Dunaway Publications. 24 Nov. 2008. 14 Nov. 2009
Dunaway, Judy. Judy Dunaway Teaching. 24 Nov. 2008. 14 Nov. 2009
Dunaway, Judy. Judy Dunaway Reviews. 24 Nov. 2008. 14 Nov. 2009
Goldsmith, Kenneth. UbuWeb Sound. 24 Nov. 2009. The Center For Literary Computing at West Virginia University. 10 Nov. 2009
Phillips, Adam. U.S.A. N/A. Broadcasting Board of Governors. Voice of America (news). Apr. 2009. U.S. Government. 14 Nov. 2009
Monday, November 9, 2009
Unnamed Sound
“Unnamed Sound”
(Route & Description)
For the “Unnamed Sound” project I took the MCTS route 15 (Oakland-Kinnickinnic) from the intersection of Oakland and Locust up to Bayshore mall, where I transferred onto route 68 (Port Washington) at Port Washington and Silver Spring. I then rode route 68 up Port Washington until we took a right on Green Tree, followed by a left on Lake Drive. After I got off the buss near N Grey Log Ln, I walked down E Dean Rd. to Doctors Park. Shortly after I arrived this happen…All in all I think it turned out to be a very unique moment; a moment hard to read.
SPOILER!!!
When I first arrived I noticed a small group of parents walking across the park, over to the playground. There was an abandoned grill in the vicinity, so I quickly hid the microphone under the grill and hit record. I couldn’t ask for anything better, the kids started playing closer and closer to the grill until a few were actually interacting with it! I think it might be easier to identify what the sounds are, but harder to confirm the direction/location; that’s where the mystery’s found.
Tuesday, October 27, 2009
Field Recording -- Drift
Field Recording 1: 10/23/2009, 12:30PM, 2825 N Downer Ave.
Field Recording 1 (Clip-MP3)
Field Recording 2: 10/23/2009, 1:30PM, 35th & Burnham St.
Field Recording 3: 10/23/2009, 2:30PM, Downer & Belleview.
Field Recording 1 (Clip-PC)
Joseph Skow
Film 116
10/23/2009
“Field Recording -- Drift”
Field Recording Clip 3
10/23/2009 2:30PM
Intersection of Belleview & Downer (construction site)
My original drift strategy involved circling three different locations on a map, isolated to the general East Side area. One of the places I circled happen to be Shorewood Park (“Atwater”), and on the way I ran into something even better! On the corner of Belleview and Downer there was a construction crew cutting brick, and placing the pieces in the median of the road. At approximately 2:30PM I separated the microphones about a foot apart and clipped them to the inside of a nearby trashcan.
At the beginning of the clip you can hear the faint rumbling of the chainsaw about fifteen feet in front of the microphones. A buss takes off fifty feet southeast. As the saw continues to rattle one of the construction workers walks up behind the trashcan and throws away a plastic bag, directly behind the clipped microphones. He mumbles something in Spanish to another worker.
Twenty seconds in the saw begins to speed up as the construction worker slices into a piece of brick. After he makes the cut he turns off the saw and drops both of the pieces into their spots on the median. You can here the faint thump as they’re dropped into place. Another buss stops at the intersection. After all is said and done the workers question each other on the quality of their work.
I was especially happy with the depth of interaction that takes place. From the direct foreground where the man throws away his trash, to the cutting of the brick, and onto the traffic in the distance, each sound comes in at it’s own direction and intensity. The formula was luck. I had no clue the man would need to throw something away, nor do I think he saw my equipment, but when all was said and done it seemed to work out for the best.
Monday, October 5, 2009
"Tati Writing" Assignment
Assignment Link...
Clip 6 Link...
Tati Writing
Mon Uncle, Clip 6
(03:47-04:17)
Using clip 6 from Jacques Tati’s film, Mon Uncle, I feel the specific purpose of his sound-scape is to facilitate pace. Through the use of musical soundtracks, environmental sound effects, panning, duration, volume and intensity, Tati sets a pace for the world in motion, as well as the world in preparation. He blends them together through exchange of setting, and population within the environment of the frame.
The musical soundtrack sets the pace for our characters while in motion around the city. During the scene at the house, where the man is getting ready to leave, the tempo of the fluid motion is provided by other character interaction-based sound effects. For instance, the single, quick paced movement for every action made by the woman. All of the sounds collectively seem to tell a story without words, and stress the importance of timing, tempo, rhythm, and pattern.
One of the more interesting depictions of pace comes into play as the man starts to drive his car down the driveway, and the boy runs out of the house to catch up for a ride (03:47-04:17). As the car pulls down the driveway, into frame, the sound of the engine becomes more intense, and seemingly closer to the viewer. The man begins to reve his engine, implying the boy to hurry up; that he was already running late.
It paints a picture for the viewer, knowing the tempo of the world our characters are about to enter, and that cliché imagery of a child holding onto a schedule through procrastination. By watching the pace of the characters while getting ready for their day, we know they’re not urgent due to a state of emergency, but rather the urgency to be in the car, ready to take on the congestion of commuting. The sounds of the engine indicate this to the viewer without words.
The mother is the only character with the same repetitive sound for every action, movement, or emotion. It's a sound of moving, a sound of scuffling, a sound of doing, and at times, even her voice. She opens and shuts the door for the boy as he gets in, maintaining her “do it all” pace and trademark sounds. The revving of the engine continues, and takes on the essence of the mans voice yelling, “Hurry up!” The woman continues to squeak the car clean as it drives away. The sounds of the mother moving and cleaning continue as the car drives off into the distance. The engine bleeds out and we hear one more, squeaky clean, “do it all,” goodbye from the mother, waving goodbye, as if she saying the words while waving. There’s a slight silence, and then the musical soundtrack picks back up as our characters enter the hectic, constantly moving, world around them.
This section of the clip shows the “real time” tempo, as well as intended pace of our characters through the sound-scape. The growl of the father’s engine, the scuffle of the woman, franticly moving to get her husband and son on their way. Both of these examples transform the concept of pace into a dialogue form, which helps maintain the theme of preparation in our daily lives.
Through the entire length of Clip 6 the sounds suggest pace and timing in environmental space, as well as dialogue/character-like consistencies. By using sounds as more than just background noise, Tati tells a story involving tempo with purpose, surrounded by unspoken dialogue. The sounds aren’t present for creating a realistic environment, or realistic film experience, but rather telling the entire story. The sounds are the background noise, the environment, the people, the actions, the events, and the dialogue. It provides emotion, narrative and perspective, to the piece.
"Aural Map" Assignment
Assignment Link...
"Aural Map"
Locust & Farwell
1:30AM
Tettigoniidae
White noise all around me, but not close enough to touch.
The noise that never stops, so can’t begin because of such.
Still, what if such a noise did stop, and you could hear a pin drop?
Would you then recognize the sound you drowned beneath you when your feet walk?
It would really be weird.
Something had to go wrong.
So thank you crickets for the noise, that keeps em’ calm to walk along.
Old Window
The window three feet behind me pulled itself out of a scary movie. It creaks, it shakes, and it makes you jump. Is someone there? You think it every time… nock, nock. It starts slow and works its way up to a rattlesnake vibration. Someone needs to fix this window. Who knew the Romans invented the modern window, and when you Google “scary window” all you get are stupid Flicker pages?
Slow Down, Buddy. Lets Go Grandma.
Motored transportation flies twenty feet in front of me, right to left. Its partners in crime speed, and burn rubber in all directions around town. Others cause traffic that make the patient restless. The city really never stops. People never stop. These drivers…will never stop. Ok, GREEN LIGHT! I better speed up so I can hit that red light up there, and do it all over again! God, that would be perfect! These fools win every time. Apparently speeding makes you a winner, and the speed limit makes you my grandmother.
A Hot Mess.
Ahhhhh (shriek)!!!! Blah, blah, blah, some young, sexy, two houses down. Grunt, snort, hustle and bustle, meat heads in the west. These are two that take the title of tonight’s hot mess. They fight the front door, beat down the porch, scream about an insect, and burn a camel torch. Go to bed. Your mom’s sick of paying for the base and the movement. Stop letting the door hit you in the ass on your way out. SCREAM, SHOUT! And yet after all this you still manage to make your way closer. These people are having the best night of their lives.
The Ocean
(crickets, wind, cars, and base)
When the crickets, wind, cars, and base swim in a circle they create an ocean. The cars, motorcycles, mopeds, and scooters, are their boats, jet skies, kayaks, and flippers. It’s forth of July on a pontoon boat. The beer is cold and the people are cheering. Crickets are the water. Wind is the waves. Base is the mixing spoon. You (the reader) learned something new today, base travels in circles.
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