When I first got introduced with music, it was a piano: a classical piano. I have underestimated the power of the sound of piano until the influence of John Cage’s experimental music and prepared piano. He was trying to find a replacement of many percussive instruments by inserted bolts, screws, nails, felts, etc. in between a piano’s string, creating a metallic and percussive or soft and muted sound. With the alteration of characteristics of a piano’s sound, it got me thinking of how everyday sound (not just piano) can be manipulated and how it connects and communicates with the rest of the world.
To listen to it, click here.
As a composer, my electroacoustic and soundscape compositions are mostly constructed by live sound, environmental sound, recorded sound, actually, and kind of sound, including noise. The sounds are either used in their original form or manipulated through processes like frequency modulation, granular synthesis and impulse response. Editing and processing the sound to find the most interesting and effective form is the first step I do when creating a sonic environment. It gives me the opportunity to experiment. I also enjoy composing with multi-surrounded channels, because it invites the listeners into a sonic environment that interacts with them aurally through the process of panning.
To listen to Wondering Thru…, click, here.