MusicAnd BASICS
THE ART OF SAMPLING
WHAT'S SAMPLING?
1. ACOUSTIC RE-PLAYING:
while using existing sounds or soundscapes, we capture and play samples like they are, searching for new musical environments and keeping the original texture of the sample. Acoustic recycling = focusing, discriminating, selecting and playing sound extracts. (Sample-player; blow-minded consuming)
2. CREATIVE RE-SAMPLING :
creative consuming music. Existing material as starting point to produce his own 'musique concrète', e.g. filtering and adding new parts or overtones or noises. (Sampler-synthesizer; modulating)
3. CREATIVE COMPOSING with specific samples, with other parameters than pitch and rhythm. The starting point is: the typical reverberation or mixing set, personal techniques or styles for producing sounds. Depending on aesthetic decisions, you blow up some aspects of the sample to unrecognizable new sounds, combining to compositions. (Sample-composing)
4. The art of sampling (the integration of consuming, resampling and composing) for MULTIMEDIA purposes. Isolating music backgrounds from broadcast function is dominating. (Intermedia)
1. ACOUSTIC RE-PLAYING:
while using existing sounds or soundscapes, we capture and play samples like they are, searching for new musical environments and keeping the original texture of the sample. Acoustic recycling = focusing, discriminating, selecting and playing sound extracts. (Sample-player; blow-minded consuming)
2. CREATIVE RE-SAMPLING :
creative consuming music. Existing material as starting point to produce his own 'musique concrète', e.g. filtering and adding new parts or overtones or noises. (Sampler-synthesizer; modulating)
3. CREATIVE COMPOSING with specific samples, with other parameters than pitch and rhythm. The starting point is: the typical reverberation or mixing set, personal techniques or styles for producing sounds. Depending on aesthetic decisions, you blow up some aspects of the sample to unrecognizable new sounds, combining to compositions. (Sample-composing)
4. The art of sampling (the integration of consuming, resampling and composing) for MULTIMEDIA purposes. Isolating music backgrounds from broadcast function is dominating. (Intermedia)
SAMPLING IN THE CLASSROOM
Today, sampling is for all of us (tunes-, riffs-, pop- and rockmusic-listeners), a hidden mechanism that makes the common music world that we listen to highly transparant. Therefore, sampling in the classroom should be an exclusive happening of hi-tech inspired (and other) teachers.
Sample a kick drum and a snare drum, and you have the basis of a piece of music! Actually, there are plenty of samplers and sampling software on the market that facilitate the experience of sampling.
How do we realize meaningful music education through sampling?
To start the art of sampling in the classroom and for music minded people, I suggest to use POCKET SAMPLERS (< click).
Using sampling software in the classroom isn't bad at all, but it takes more time, you need complicated cognitive skills, and fewer attention to the characteristics of sound (parameters) or to record and use samples musically.
Originally, making music comes from the historical age of collective, oral and body orientated experiences with natural sounds and self-made instruments. In the second age of classical music, producing sound and music developped to a stage of learning exclusive skills to execute notated music (= scores). Nowadays, we enter the electronic age of making music with taperecorder for acoustical and digital machines of recorded and transformed samples. Per mouseclick we can now record, perform and edit pieces of music: using sound effect processors, sequencers, transducing, mixing sounds into digital material, and managing new locations and styles.
Theoretically, sound samples are all kinds of sounds: e.g. a short sound, a very small or very large abstract of melodic lines, polyphonic excerpts, live sound scapes, animal and human environmental sounds, electronic and electro-acoustical music, a live-performance etc.
The most radical evolution concerns the distracting of sound and music from their source and physical location. The most revolutionary feature is that we can freeze the spatial and temporal dimension, and texture of sound and music using sound filters, etc. The most important advantage is: we can create incredible new combinations and meaningful worlds of sound and music, starting from the sounding result. The hidden danger ( considering young and older pupils) is the fact that our sound experience through samples loses physically the dynamic body contact with acoustic sources and traditional ways of touching snares and strings. The art of sampling is like transcribing music ... without paper.
Music And © P. Timmermans
Today, sampling is for all of us (tunes-, riffs-, pop- and rockmusic-listeners), a hidden mechanism that makes the common music world that we listen to highly transparant. Therefore, sampling in the classroom should be an exclusive happening of hi-tech inspired (and other) teachers.
Sample a kick drum and a snare drum, and you have the basis of a piece of music! Actually, there are plenty of samplers and sampling software on the market that facilitate the experience of sampling.
How do we realize meaningful music education through sampling?
To start the art of sampling in the classroom and for music minded people, I suggest to use POCKET SAMPLERS (< click).
Using sampling software in the classroom isn't bad at all, but it takes more time, you need complicated cognitive skills, and fewer attention to the characteristics of sound (parameters) or to record and use samples musically.
Originally, making music comes from the historical age of collective, oral and body orientated experiences with natural sounds and self-made instruments. In the second age of classical music, producing sound and music developped to a stage of learning exclusive skills to execute notated music (= scores). Nowadays, we enter the electronic age of making music with taperecorder for acoustical and digital machines of recorded and transformed samples. Per mouseclick we can now record, perform and edit pieces of music: using sound effect processors, sequencers, transducing, mixing sounds into digital material, and managing new locations and styles.
Theoretically, sound samples are all kinds of sounds: e.g. a short sound, a very small or very large abstract of melodic lines, polyphonic excerpts, live sound scapes, animal and human environmental sounds, electronic and electro-acoustical music, a live-performance etc.
The most radical evolution concerns the distracting of sound and music from their source and physical location. The most revolutionary feature is that we can freeze the spatial and temporal dimension, and texture of sound and music using sound filters, etc. The most important advantage is: we can create incredible new combinations and meaningful worlds of sound and music, starting from the sounding result. The hidden danger ( considering young and older pupils) is the fact that our sound experience through samples loses physically the dynamic body contact with acoustic sources and traditional ways of touching snares and strings. The art of sampling is like transcribing music ... without paper.
Music And © P. Timmermans
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