Experimental Sound

Assessment 1: Project Proposal

Ocean of Sound
mu60011e
2663 Words

Clark Henry-Brown
February 2016

21221601

By submitting this assessment for marking I declare that I:

1) have in my possession the correct documentation for this module, which I have
read and fully understand. *
2) understand the plagiarism regulations of the university.
3) understand the assessment regulations of the university.
4) understand the implications of using copyrighted material.
5) understand the deadlines associated with this module.

Contents
1. Project Title

2. Executive Summary

3. Experimental Audio Focus

3.1 Source Material

3.2 Structure

3.3 Experimental Approach

4. Project Meaning

5. Research

6. Ethical Issues

7. Copyright Issues

8.Project Content

9. Project Run Time Lengths

10. Finished Project Formats

11. UWL Resources Required

11.1 UWL Resources Access Time Required

12. Other Resources

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12.1 Non-UWL Resources Access Time

12.2 Resource Availability

13. Weekly Schedule

14. Bibliography

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1. Project Title
The project title, Ocean of Sound, portrays the literal meaning of the intentions of the
project through wordplay (Ocean of Sound as opposed to Sound of [the] Ocean).
Moreover it effectively personifies the key aims of the project: an extensive soundtrack
based on scientific data, works of art, geographic data and literature on the subject of the
Ocean.
Furthermore, the imagery within the title allows a multitude of choice in terms of graphic
representation commercially in the case of a marketing campaign; specifically the brochure
required for the final assessment: portfolio.
2. Executive Summary
Ocean of Sound aims to establish a five-piece soundtrack on the subject of the Ocean, in
which the final artefact will be an all-encompassing portrait of the Atlantic, Pacific, Arctic,
Southern and Indian Oceans. Primarily, all aspects of composition and production will be
un-allured by conventional contemporary techniques: instead a soundscape will be
produced by statistical, fictional and artistic sources providing the foundations upon which
Ocean of Sound will be created.
By combining a number of factors that often define the term experimental when used in
relation to sound or music; an approach will be taken in which the Ocean is the key
component in the outcome of the sound as opposed to being a reference point for what it
should sound-like. Meaning that no direct creative input will be initiated and all sound
outcomes will be generated experimentally. Said factors will be determined through
researching similar experimental methods such as the use of graphic scores, found
sounds and statistical representation in sonic form. The only sound source to be used will
be water, however the environment that it is recorded in can be varied. Whilst where
sounds appear in the final artefact are to be fully justified, in order to adhere to a
completely experimental approach.
The Ocean of Sound is not to be misconstrued as a concept album of five separate
works, but a single-body of formulaic and experimental processes to define a sonic-art that
defines the Ocean. Each separate track will be created using the same formula however
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certain contributing factors will change for each track to represent alternative locations
each track will be representative of an Ocean. In doing so, I aim to amalgamate a purely
factual representation in sonic form of the Ocean, thus portraying: human perception,
environmental and scientific facts and the unknown of the Ocean.
All elements of the Ocean of Sound will be intertwined with the core theme (the Ocean),
this is inclusive of the final USB hard drive and product brochure. The latter, will mirror and
therefore highlight the primary and secondary aims of the the artefact: to define an oceanic
soundscape and secondarily evaluate the concept and subtext produced in the process of
creation. Moreover, the product brochure will be a marketable and holistic overview of the
final project which will largely illustrate Ocean of Sound and its processes in a
promotional yet analytical format, avoiding the urge to sell it as a product yet expounding
upon its theories and intentions to maintain comprehensibility to its audience.
3. Experimental Audio Focus

3.1 Source Material

The entirety of sounds throughout the artefact will be sourced from water, which may be
manipulated through varying processes determined purely by contributing experimental
data founded through research topics (discussed in section 3.2). Furthermore a number of
recording techniques will be explored to capture said water sources: a multitude of
microphones including the use of a hydrophone/s and varying materials and environments,
eg. water balloons, bath tubs, open water.

One of example of sound manipulation could be the use of the sound of water droplets,
pitched by the interval of a minor 2nd and major 2nd of the original source to create a
harmonic pad. One semitone represents the single oxygen atom of water whilst 2
semitones represents the 2 hydrogen atoms within the chemical formula of water.
Following similar experimental approaches, the source material will amalgamate a
diversified soundscape through alternating approaches to each individual sound.

3.2 Structure
The structure of the piece will avoid conventional compositional methods; Landy (1991, p.
204) concedes that repetition is a taboo of experimental music within his book Whats the
Matter with Todays Experimental Music?, which reenforces my choice to abolish popular
music form. The structure of the individual tracks of Ocean of Sound will be entirely reliant
on organised sounds, determined through a number of factors:

Scientific data, such as: the number of atoms in the chemical composition of water.
Literary source, such as: the number of times the word Ocean appears in
Hemingways (1994) The Old Man and the Sea.

Art source, such as: the mean average of number of time the colour blue appears in
The Great Wave (Hokusai, c.1830)

Geographic Data, such as: coordinates of a specific Ocean location

3.3 Experimental Approach
There will be no strict guidelines to these factors and the way in which they determine the
production of sounds, a number of ways can be considered:
a. individual factors determine where sounds enter and reenter
b. differing factors could be intertwined to regulate one specific sound
c. data could be converted and plotted in the form of a graphic score

Experimental sound can be construed in a number of ways, Landy (1991) lists four: postmodernism; such as the 20th century avant-garde works of Ligety, musique-concrete,
music in which the outcome cannot be foreseen and finally, music where the innovative
component (theme) takes priority above the general craftsmanship of the piece.
My own approach will be to research and analyse several methods of experimentalism and
develop a method in which these can be successfully undertaken that fit within the
elements of my theme/s. Although there will be no intentional direct manipulation of
sounds, there is undoubtedly a subconscious expectation of what I believe the Ocean of
Sound to represent. Therefore, un-briefed individuals will be selected where there is a
performance aspect required. Specifically, this will relate to the use of graphic scores
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scores will need to exclude any direct representation of the Ocean in picture or text format
to produce an entirely unbiased outcome.
The final outcome of Ocean of Sound should be epitomised by the exclusion of personal,
emotive and/or freely-composed ingredients and adhere to the formulated and thus
experimental approach set out within the brief.
4. Project meaning
Conceptually the Ocean of Sound aims to explore the Ocean through a number of
categories in relation to the core theme and thus conceptualises this theme sonically. To
fully embrace an experimental approach, a number of questions are set to be answered as
opposed to determining themes and concepts thus allowing discovery of these upon
progression of the project and likewise allowing a multi-faceted sonic artefact:

- Will the sonic outcome portray the Ocean in any pre-conceivable way (will it sound like
the Ocean)?

- Will the Arctic and Southern Oceans sound cold?

- Will it include a sub-text? For example global warmings effect upon increasing ocean
levels.

- Will the Ocean of Sound project a journey for the listener through selected track-listing?
- Will constraints upon data limitation (more researchable knowledge on certain Oceans)
effect the outcome of the final artefact?
5. Research
A number of research subjects will be undertaken to allow the highest level of quality within
Ocean of Sound. Whilst primarily studying the works of a range of other experimental
artists such as: John Cage, Pierre Schafer, Gyrgy Ligeti and Laurie Anderson to name a
few. It will also be necessary to research factors such as project branding, sound
production techniques and art.
Despite my aforesaid(3.2) opposing viewpoints upon the use of popular music techniques
within Ocean of Sound, to make this a multi-dimensional artefact it is important to be
entirely open-minded to experimental approaches made by individuals regardless of their
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field of expertise. Zagorski-Thomas (2014, p.49) describes the experimental approach

used by Max Martin in a popular Britney Spears track, where Martin samples a guiro
scrape on a Yamaha keyboard and combines the makeshift multi-sample instrument with
her vocal track to construct a graspier top line.
Amongst Martin, there are a number of experimental individuals that portray inspirational
methodology it is important to note that their respective fields and workflows are
contrasting, which evaluates the lack of subjectivity when working with Experimental
Sound. Thus, through research I aim to be inspired, however nonetheless develop my
own experimental approach.
Matthew Sergeants Shell (2014) is an example of experimental work that takes analytical
data and converts it into the sonic domain. Sergeant, using phonetic material derived from
a colleagues name uses a single tone and gradually removes pitch and results in the
eventual shell of phonetic sounds. Conceptually, this can be perceived as the reflection of
subject of the composition: an ode to Sergeants colleague leaving the workplace in which
they shared. This, amongst other experimental artists (such as Nina Whiteman), who use
data to determine a sonic product, can be researched to aid the use of graphic scores
within my piece.
Moreover, in order to result in a strong conceptual artefact, significant steps will be taken
to portray unity across all aspects of the project. This will include undertaking significant
research upon the branding of the artefact, to enable a holistic outcome as opposed to
being purely based upon a sonic factors. This is highlighted by Harrison (2008, p. 166),
who underlines the importance of including intertwined branding for a project.
Finally, it will be largely important to undertake research upon the factors that determine
the source of data that will manipulate the soundscape and structure of my experimental
project. As previously mentioned, scientific data, geographic data, artwork and literary
works will be used to determine a number of outcomes within Ocean of Sound, therefore
these fields will be largely analysed to allow diversification of sound sources and
conceptual reference points.

6. Ethical Issues
Ocean of Sound sidesteps any great ethical issues as it largely focuses upon naturalistic
and factual elements; therefore the likelihood of offending a specific class or audience are
minimized. However, it is important to note all possible ethical issues and understand the
impact of these if any subject matter changes within my project.
There will be a number of minor ethical issues that Ocean of Sound will encounter and
thus will need to be avoided to create a multi-faceted and reputable final artefact. It will be
necessary to use musicians who are unaware of the subject matter to produce an
unbiased performance of graphic scores. In these instances it will be necessary to ensure
that any partakers are either of studentship at the London College of Music, or the cost of
travel is covered and therefore are not financially affected by any collaboration.
Moreover, as the project is largely based around water it will be important to consider a
number of health and safety aspects. Especially if using University of West London
facilities, audio technicians should be made aware of the use of water in live rooms and
ensure that there is no risk entailed with any recordings. Likewise, any University facility
guidelines should be strictly followed, including: being prompt for studio sessions, not
eating and/or drinking in the studio.
7. Copyright Issues
The primary copyright issues that will be encountered will be the use of sources used to
determine the outcome of sound, such as literary and art works. The Intellectual Property
Office (2014) states it is an infringement to making an adaptation of the work; despite the
fact original works will be unidentifiable in sonic form, to avoid any issues the work will not
be released commercially. Copyright does not apply to works used in research or private
study (Intellectual Property Office, 2014).
To avoid any copyright issues within the press release brochure, all images will be original
and created solely for the purpose of this assessment. Likewise samples will be originally
recorded.

8. Project Content
The final artefact will collectively include:

- 5 audio tracks in an uncompressed audio format, upon the conceptual basis of a

respective ocean,

- an advertising brochure,
- any alternative supporting materials.
9. Project Run Time Lengths
Ocean of Sound run time lengths will be determined by an appropriate contributing factor
under the core theme which will become apparent through the discovery and
experimentalism of the project. More specifically, individual audio tracks will be at varying
lengths between 2-10 minutes and collectively at a a total run time length of approximately
30 - 50 minutes.
10. Finished Project Formats
Foreseeing that no problematic encounters occur with software and/or hardware, the
following project media and formats will be used upon final submission:

USB Harddrive:

- 5 separate audio .WAV files,

- press release brochure .PDF soft copy,
- final research essay .PDF soft copy (if required).
Press release brochure hardcopy.
11. UWL Resources Required
A number of UWL resources will aid in the completion of Ocean of Sound. A large amount
of research time will be required and therefore the use of Paul Hamlyn Library will be
paramount in the completion of all aspects of the final submission. Whereas it is possible
additional resources will be needed if my home studio does not meet the requirements of
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the project in this instance equipment will need to be hired from the Media Resource
Centre or studios booked. These resources will be available to me within University
opening hours.

11.1 UWL Resources Access Time Required

Resource

Notes (From week 5)

Hours

Library

At least 8 hours a week, including

hired book research time.

80 hours

Media Resource Centre

If and when needed.

0 - 10 hours

London College of Music Studios

1 x 4 hour token any walk-ins

available.

4 - 8 hours

Total

approx. 84 hours

12. Other Resources

Amongst the aforementioned resources, additional resources will be available to me
outside of University premises. Specifically, the resources required to complete the entirety
of the assessment will be: Pages, Adobe Photoshop, Logic Pro X, Microphones,
Headphones and the internet for research resources.
12.1

Non-UWL Resources Access Time

Resource

Notes (Week 5 onwards)

Hours

Software

At least 7 hours per week for track

production and PRB in final month

28

Studio Equipment

3 hours of recording per week

27

Internet

10 hours of research per week

100

Total

155

12.2 Resource Availability

Through my home project studio all of the aforementioned resources are available,
namely: an iMac computer that contains all relevant software, a Saffire Pro 40 audio
interface, a multitude of large/small diaphragm condenser and dynamic microphones,
closed-back headphones for location recording, internet subscription, subscription to
online book resource websites Safari and Scribd. The natural environment will be used
for recording of found sounds. All of these resources are available at my home, 24/7.
13. Weekly Schedule (week 1 to week 14)
As the planned process of the majority of Ocean of Sound is chiefly formulaic, a large
amount of time will be taken researching and collating a library of found sounds. The
compositional aspect of arranging and manipulating these sounds, will take relatively less
time due to the precise and methodical approach that has been set out.

Week

1
2

Proposal

Recording
(Sound
Library
Collection)

Research

Track
Production

Key

Proposal: the proposal will coincide with

research and will largely be indirect study
through reading and methodological
mind maps (see attached).

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4
5

Recording: a large library of sounds will

be created firstly and this will be done

until an extensive library of sound files

are built. All sound samples will be the

product of water and it is important to

capture audio that completely adheres to

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my set brief. Creating this sound library

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will also include creating sound samples

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that will be apparent in the final artefact,

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however not structuring these in terms of

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form until the final track plan is complete.

 Research: subsequent to the proposal submission, this will largely be based around
the final submission research essay, in which I will research a number of proposed
ideas and consequently review these. Ideally, I will assess the works of others, analyse
how this is done and finally conclude upon whether this can/has contribute/d to Ocean
of Sound. This process also includes the production of the research essay and
brochure.

Track Production: through research and recording I will determine a collective structure
that will effectively be reasoning to each singular sound and why it appears and when.
Undoubtedly, randomisation maybe used in certain instances but despite this
reasoning should nevertheless be included as to why randomisation is suitable in said
moments.

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14. Bibliography
Harrison, A. (2008) Music: The business - the essential guide to the law and the deals. 6th
edn. London: Virgin Hardbacks.
Hemingway, E. (1994) The old man and the sea. London: Arrow Books.
Hokusai, K. (1830) Under the Wave off Kanagawa (The Great Wave) [Print]. Available at:
http://www.bbc.co.uk/ahistoryoftheworld/objects/MAPlqOEHRsmI1awIHQzRSQ
(Accessed: 21 February 2016).
Intellectual Property Office (2014) Intellectual property crime and infringement. Available
at: https://www.gov.uk/guidance/intellectual-property-crime-and-infringement (Accessed:
21 February 2016).
Landy, L. (1991) Whats the matter with today's experimental music? Organized sound too
rarely heard. Philadelphia: Harwood Academic Publishers.
Sergeant, M. (2014) Shell. Available at: http://www.matthewsergeant.com/solo#/shell/
(Accessed: 21 February 2016).
Zagorski-Thomas, S. (2014) The Musicology of record production. United Kingdom:
Cambridge University Press.

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