TECHNICAL:
This work uses three main stages of sound processing for its content: ATS, SuperCollider, and Audacity.
In ATSH, I extracted several levels of frequency content and created both sound files and ATS files for further synthesis. The ATS files gave me a listing of all the partial information which is valuable numerical representation of the components within my source material. The two main levels of content are taken from the 6KHz - 15KHz frequency range, and the 20Hz - 180Hz range, and this came in the form of sound files.
In SuperCollider, I processed the sound files generated from ATSH using reverb, resonant filters, granulation, and sampling. I also used the high range sound content as a trigger for dust impulses and tones. In using the partial information, I was able to generate sine tones and use additive synthesis to create musical forms.
All of the content generated from SuperCollider was saved and stored for layering and editing in Audacity. This allowed me GUI manipulation for fine tuning and transitions.
CONCEPTUAL:
My work started from the idea of a subjective, human account of time and the inaccuracies and thought-spaces that inform and interrupt. I initially wanted to use three voices, a child, a young man, and an elderly man, to represent different periods in a life-span, but I soon narrowed this down to exploring a single voice for this work. In the recording, I directed my voice actor to count to seven minutes without the aid of clock or metronome in order to get a more varied performance. This was partly achieved when the recording of seven minutes took only six-minutes forty seconds.
PROCESS & CRITIQUE:
In the critique, I agreed with most of the feedback. One point was to what extent I departed and returned to the counting voice. This was a large compositional challenge - how do I transform and intervene on the voice, but still make sure it remains in the frame. This is linked to my idea as well - as we count in our head or out loud, our mind wanders and our voice moves in and out of our range. This needs to be examined more closely in my piece - the compositional potential of the push-pull space from the counting needs to be examined more closely. The piece's duration needs to be rethought as well - we need enough time to experience time in a different way.
