This is a recording of a genuine attempt to sing my prep. school’s song as I would have sang it in the past. In addition to singing two verses and singing the chorus twice, I accompany myself by vocalizing the bass line I would have heard while singing. The chorus contains the phrase “Age Quad Agis” which means, do whatever you do, to the best of your abilities. I think I’ve always followed this mantra during attendance and long after attending the school. Although I can’t exactly remember the words of the song, their message still remains.
This is audio from an online introduction to Greek columns paired with a laugh track to imitate sitcoms that rely on laugh tracks to make audiences perceive their content as comedic.
“No audience, no player, no composition: this popcorn controlled robotic drumset is the most hygenic and the random performance I ever built. All sounds are triggered by popcorn, sensed by piezo elements, converted to MIDI, transfered to a robotic system and played live on drums without the interference of a human composer.” Text from: / moritzsimongeist
4′33″ (pronounced “four minutes, thirty-three seconds” or just “four thirty-three”)[1] is a three-movement composition[2][3] by American experimentalcomposer John Cage. It was composed in 1952, for any instrument or combination of instruments, and the score instructs performers not to play their instruments during the entire duration of the piece throughout the three movements. The piece consists of the sounds of the environment that the listeners hear while it is performed,[4] although it is commonly perceived as “four minutes thirty-three seconds of silence“.[5][6] The title of the piece refers to the total length in minutes and seconds of a given performance, 4′33″ being the total length of the first public performance.[7] (From Wikipedia)
Emeka Ogboh:
Song of the Germans
The Song of the Germans is a sound installation by Berlin based, Nigerian Artist Emeka Ogboh for the 2015 Venice Biennale. He recorded the German national anthem in 10 different African languages (Ibo, Yorouba, Bamoun, More, Twi, Ewondo, Sango, Douala, Kikongo and Lingala). This is then played continuously, with a new arrangement each time: one singer starts the piece, then the others joining in at different points in the song, building up to the full choir.
Each singer was on a separate speaker, set at the head height of the singer. There was the really nice effect of a voice being revealed as you walked closer to a speaker. Text from: https://www.arthurcarabott.com/the-song-of-the-germans
Janet Cardiff:
Lost in the Memory Palace: https://www.youtube.com/watch?v=LAhrSiUeP2I
Basement Bass was part of the exhibition Volume: Hear Here at Justina M. Barnicke Gallery.
A rotating floor has been turned into a bass speaker. The sound is the bass end of a field recording from the sub basement of the Justina M. Barnicke Gallery–the droning room-scaled fans, humming air vents, gurgling and spurting water of the boiler system, etc. When a viewer stands on the floor, they feel the sound as much as they hear it. (From Marlahlady.com)
Dot-matrix Sympthony, The User
The artist creates scores to be interpreted (played) by old technologies – Dot Matrix printers:
Synth Loops, Christian Bok
The artist uses techniques and references from experimental writing and performances of sound-based texts:
Daniel Olson, Thumbrolley
The artist manipulates toy musical instruments:
Piss Record, Matthew Sawyer
The artist documents (and embellishes) his morning pissing:
Pipes in “C”, Anna Ripmeester
This artist had a noisy pipe in her apartment and noticed it was a tone in the key of C. She decided to jam with it – in the key of C:
Jonathan Monk, My Mother Cleaning My Father’s Piano
The artist finds a found composition at his parent’s house:
One Minute Apology, Laurel Woodcock
Artist is using a record to re-mix a song, with a persistent and unrelenting message:
A Day in the Life (24 hour version), Dave Dyment
The artist slows down the Beatles Song “A Day in the Life” to literally last a full day:
Brian Joseph Davis, Voice Over
The artist explores and re-performs voice-overs in a relentless disconnected list that makes them all sound totally intense and absurd:
Listen to these student interpretations of the assignment below:
Lee Walton: From a project where the artist compiles the middle C note sound (and video image) from everyone’s piano. Even though it’s the same note – the C’s are amazingly diverse:
A brief audio environment by Andy Miller. Use headphones for ideal experience.
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