Agentes criativos de música electrónica experimental em Portugal : um estudo de casos particulares

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

Les conditions d'une musicalité du sonore : étude comparative sur le statut musical du bruit en musique et au cinéma

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : Qui va droit son chemin.(http://atrium.umontreal.ca/notice/UM-ALEPH002343834)

Filmljudets funktioner i krigsfilm : En audio-visuell analys av Apocalypse Now och Saving Private Ryan

I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.

Time for tea

Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre environments that appear to move towards and away from the audiences. This capability radically expands the metaphoric content possible in dance work. This dance performance simply named “3D” combines contemporary dance with stereoscopic and video imagery. It was performed live within the Melbourne Fringe Festival at the No Vacancy Gallery at Federation Square from September 30 to October 2, 2011. The dance character is a Victorian woman living in a drought-stricken land who dreams of having enough water for a cup of tea. The stereoscopic (3d) images are metaphors for her hopes and dreams. It was performed and animated by Megan Beckwith and the sound design was by the international sound designer Jacques Soddell.

Time for tea

Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre environments that appear to move towards and away from the audiences. This capability radically expands the metaphoric content possible in dance work. This dance performance simply named “3D” combines contemporary dance with stereoscopic and video imagery. The dance character is a Victorian woman living in a drought-stricken land who dreams of having enough water for a cup of tea. The stereoscopic (3d) images are metaphors for her hopes and dreams. It was performed and animated by Megan Beckwith and the sound design was by the international sound designer Jacques Soddell.

Elves processing Christmas orders in an office SFX

A sound design that animates elves working in an office processing Christmas orders.

Arrow hitting wooden target (two takes- centred & L-C pan)

A sound design that animates elves working in an office processing Christmas orders.

Halloween witches and monsters SFX

A sound effect of vocal recordings and sound design depicting halloween styled monsters, witches, ghouls.

Halloween witches and monsters with bell SFX

A sound effect of vocal recordings and sound design depicting halloween styled monsters, witches, ghouls and a bell striking to midnight.

Deeper than the forest AMBIENT

A short instrumental featuring percussion, bells, synths, mandolin, and sound design.

Deeper than the forest AMBIENT with VOCAL

A short instrumental featuring ethereal female vocals, percussion, bells, synths, mandolin, and sound design.

Fear of music : sounded poetry and the poetry soundtrack

This essay proposes the term ‘poetry soundtrack’ for a form of sounded poetry that I have been practising for some years (examples of which can be found in this issue of Axon). The poetry soundtrack is a sonic object made up of original poetry, music, and sound design. Such a form is now being produced—under various names—by numerous poets, thanks to the development of the Digital Audio Workstation (or DAW). In my essay, I argue that the poetry soundtrack has occupied an aesthetic no man’s land between avant-garde ‘sound poetry’ and documentary-style recordings of poetry readings. I propose that a general ‘fear of music’ has led critics to favour such forms, and concomitantly to ignore musico-poetic forms of sounded poetry. In addition, I analyse the ‘digital poetics’ that can be found in producing sounded poetry with a DAW, especially with regard to the ‘vocal staging’ that such technology can produce in the poetry soundtrack.

Car

This digital creative output is a 'poetry soundtrack', an audio work comprised of original poetry, music, and sound design.

Another A.M. dream

The digital creative output is a 'poetry soundtrack', an audio work comprised of original poetry, music, and sound design.