Chun Song


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2020

KUNSTKAMMER

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2019

TIME#01

TIME#02

TIME#03

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2020

WIND COMPOSITION
ALTERNATIVE SOUND
PERFECT LOVER

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2019

RELECTRONICS
MARIONETTE

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2017-2018

HEADSET

FARMERS’MARKET

DRONE

BIRDY BOX
HUMOBJECT
SNIFF

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Song is a NY/SH based industrial designer, an object maker and a new media artist.

She is doing @100 days of perceiving for her new project in 2020.

Currently she is pursuing a master program at NYU ITP and keeping a blog.


chunsong1997@outlook.com
@cccsoong   


Mark

Wind Composition






2020
Special thanks: Yotam Mann /Sound in Space
                              Yeseul Song /ITP Weather Band CAPTAIN




这个作品是我为ITP Weather Band做的风的声音作品,也是我对毕达哥拉斯对于声音和数字的的直觉想象的一个回应。

古希腊哲学家和数学家毕达哥拉斯研究了振动的弦的物理性质,发现它的自然谐波分成数学比例——拨动两根相同张力的相似的弦,如果它们的长度有一个整数的关系(如1:2、2:3),就会发出悦耳的声音。毕达哥拉斯对声音本质的探寻,以及他对数字的执念非常吸引我。毕达哥拉斯的思想围绕着这样一个理念,即当考虑到最深层的层面时,现实本质上是数学的。Pytahgoren相信在数字背后存在着一套原则体系。他想要凭借数字探求宇宙的秘密,他在试图盗取神的秘密、模仿神进行小规模的创造,其背后的狂妄的傲慢对我来说是浪漫的,我是一个会是想要加入毕达哥拉斯的秘密结社教团的人。毕达哥拉斯统一了科学和精神,音乐反映了宇宙神圣和谐结构这一概念被从柏拉图到艾萨克·牛顿的思想家视为理所当然。

但有一个一直存在的问题是:在我们的音乐系统中,毕达哥拉斯对数字的神圣纯度是最重要的,还是人的耳朵的判断是更重要的?

频谱主义的作曲家们也被这个东西极度吸引。我理解频谱主义为:通过计算机分析各种声学现象,并以音乐的形式表达频谱的过渡和分布,将纯粹的声音物理现象升华到音乐水平。根据它的创始人之一Horatiu Radulescu的说法,频谱是在谐波频谱中寻找“声音的深层结构”。Radulescu指的是“spectral technique of composition”而不是“spectral music”,Gérard Grisey认为“Spectralism不是一个音乐的系统(比如序列主义甚至是调性音乐),而是一个态度。他不把声音认为是可以被摆布的死的物体,而把它当作有生命的物体,有出生、一生的过程和死亡。” Grisey相信音乐的基本单位是声音,不是乐谱上的音符。把声音当作“活物”是什么意思?这与John Cage的愿望相呼应,他希望让声音成为它们自己,尽管直觉必须占据主导地位,频谱主义者也同样关注声学本身。Radulescu将频谱技术描述为“对毕达哥拉斯的一个概念上的回应(2000年后)、对印度教和拜占庭音乐直觉的实现、最接近自然共振的。”

受到毕达哥拉斯和频谱作曲者的影响,这个作品我分析了巴松管上的一个单独音符,对它进行频谱分析后,以不同频率分段导出这些分音或是说泛音,将他们放置在一个声音的三维空间中,任随他们被风的数据吹散。我模拟了一种全然不同于现实人类感知声音的方式,这是一个可以感知到声音中的每一个泛音的生物(而不是如人类通过整体感知一个声音),且在他们的土地上泛音序列会被风吹散到四处。*需要戴耳机体验*

身为ITP Weather Band的成员,我可以使用一个非常当地和diy的风的数据来完成这件作品。ITP Weather Band是一个实验乐队,我们从一个自制的气象站收集的天气数据来创作音乐。该小组已经建立了一个气象站系统,并制造了各种可以将天气数据转化为音乐和视觉效果的实验乐器。后来我还将这件风的乐器调整到C大调,和成员一起实时创作了乐队的第一个远程条件下的合作作品《First Day of Summer 》。

The Ancient Greek philosopher and mathematician Pythagoras investigated the physical properties of vibrating strings, and discovered that its natural harmonics divide into mathematical proportions -- plucking two similar strings stretched to the same tension gave a pleasing sound if their lengths were related by simple integers (ie. whole numbers).

I was attracted by Pythagoras's discovery. A central believe of him is that when considering the deepest level, reality is essentially mathematical in nature. Pytahgoreans believed there was a system of principles existed behind numbers. Pythagoras unified the scientific and the spiritual, and the notion of music reflecting the divine harmonic structure of the universe was taken for granted by thinkers from Plato to Isaac Newton.
But one of the questions debated whether in tuning systems, Pythagoras's holy purity of the numbers was paramount, or the judgment of the human ear?

None has been more obsessed by it than the school of spectral composers. Spectrality, according to one of its founders, Romanian pioneer Horatiu Radulescu, involves searching out the "deep structure of sound" revealed in its harmonic spectrum. Radulescu refers to the "spectral technique of composition" rather than "spectral music", and Grisey maintained that "Spectralism is not a system... like serial music or even tonal music. It's an attitude. It considers sounds, not as dead objects that you can easily and arbitrarily permutate in all directions, but as being like living objects with a birth, lifetime and death." Grisey insisted that the basic unit of music should be the sound, not the note on the page.What does it mean to treat sounds as ‘living objects’ – what Radulescu referred to as "sound plasma"? There's an echo of John Cage's desire to let sounds be themselves, but though intuition must take over, spectralists are equally concerned with the science of sound itself. Radulescu described spectral techniques as "a conceptual reply (2000 years later) to Pythagoras, and a realisation of the intuitions of both Hindu and Byzantine music, which were closest to natural resonance".”

My Wind Composition simulatse a spatial sound experience of being an extraterrestrial being who would hear sounds as particles or overtones laid out in space. The wind would blow sound partiels into different directions in this space.

Thanks to the ITP Weather Band, I can use the very local wind data to create this piece.
ITP Weather Band is an experimental band creating music with weather data collected from a DIY weather station. The group has built a weather station system and created experimental instruments that turn the environmental data into music and visuals.  After we made our unique software and hardware instruments during 2020 summer, eight performers made a harmony altogether using these instruments playing weather data over remote, and jammed together to make our summer symphony - First Day of Summer.


https://www.andyhamilton.org/single-post/2003/11/22/The-Primer-Spectral-Composition







Mark