arjun gananathan's extended project

8/10/2019 Arjun Gananathan's Extended Project

http://slidepdf.com/reader/full/arjun-gananathans-extended-project 1/43

To create a piece of

ensemble music thatinvokes variousemotions within amature audience

through the use ofcompositionaldevices and musicaltechniques on the

main instrumentguitar.

Arjun Gananathan 13W



Arjun Gananathan – Music & Emotions Extended Project

Contents

Sections Page Number

Contents 2Abstract !ntroduction "#iterature $eview %

&iscussion '%- Psychological Aspect 1- Musical Aspect 1!- "#ills & $echni%ues '- (inal Product )- *e+elopment ,- n+estigation & $a.le o/ 0esults 31

Conclusion "(valuation )*ibliograph+ %,lossar+ -




Abstract

n my extended project ill .e researching the musical and

psychological aspects o/ hat ma#es music emoti+e2 $he researchgathered ill help me loo# into the emotion o/ sadness in music inorder to compose my on piece ith the aim o/ e+o#ing an emotionsimilar enough to sadness2 ill loo# into detailed dissertations as ellas /amous emoti+e pieces o/ music in history2

as a.le to success/ully create an emoti+e piece o/ music using +ery+alua.le pieces o/ in/ormation /rom my sources2 $he responses recei+ed /rom my test su.jects ere good indicators that the piece o/music ritten as success/ul2

3




!ntroduction

ha+e chosen a topic in relation to music and psychology and to/urther research lin# .eteen the to a/ter hich ill attempt tocreate a piece o/ ensem.le music that in+o#es a /eeling o/ sadnessithin a mature audience2 n general ill .e loo#ing in depth as tohy people might experience a /eeling o/ sadness as ell as studypieces o/ music that are #non to .e sad in 4lm and classical musicand com.ine these to produce a piece o/ music using thecompositional de+ices and musical techni%ues other composers mightha+e used in a di5erent ay2 intend on 4nding the similarities anddi5erences in the ell-#non existing emoti+e pieces o/ music andcreate my on piece o/ music using the common musical aspects to

see i/ they in6uence listeners2 ill also .e aided .y experts ho ha+ealso studied the connection .eteen these to topics and ha+e rittenarticles or dissertations a.out it2

chose this topic .ecause .elie+e that humans can react to music indi5erent ays and ould li#e to understand more on hatparticularly in pieces o/ music might create these /eelings2 7ertaingenres o/ music directly a5ect ho people might act or thin# andcertain people are automatically dran to speci4c genres2 8oe+er am most interested in 4nding out i/ musical compositional de+ices canin6ict the same /eeling on a listener regardless o/ their choice or tasteo/ music2 (or some pieces o/ music the story that comes ith it may.e the trigger /or the emotion o/ sadness such as in 4lm music or theemotion may come /rom an attached memory that relates to the songhen a person had heard it earlier2

am mostly interested in this 4eld as ish to study music /urther as adegree and hope/ully someday release my on music that ill .e a.leto touch and in6uence people emotionally2 My goal someday is to .e aper/orming and recording musician and there/ore #noing hat anaudience expects to hear and ho they react to it is important in .einga.le to attract as many persons o/ interest to my on music aspossi.le2 n addition ha+e also .een interested in psychology since as 13 years o/ age and there/ore music therapy may .e related tothis topic2 .elie+e ha+ing control and #noledge in hat emotionmusic in+o#es ill /urther allo me to accurately dictate the point andpurpose o/ the music ill compose in the /uture2

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$he e%uipment that need /or this topic include a personal computer orlaptop ith nternet access to 4nd and research sources and music /orthe 4rst section o/ the arti/act2 My personal laptop ill also aid in theriting o/ the literary analysis and in the /uture the presentation o/ theproject2 ill also ha+e access to the Garden nternational "chool

9i.rary /or printed resources as ell as the Music *epartment hichhas a +ariety o/ sources a.out music history and music orldidehich may also .e related to my selected topic2 $he musicpro/essionals ithin the department may also .e o/ use in terms o/consultation and ad+ice on the topic due to their experience in themusic 4eld2 ill also .e using a +ariety o/ computer so/tare to helpme2 $hese include Microso/t Word /or riting tas#s such as the client.rie/ literary analysis and planning2 t also includes musiccompositional so/tare called "i.elius as ell as Audacity andGarage.and that are so/tare used /or recording instruments in thatparticular stage o/ the project2 might also use Microso/t PoerPoint

Pre:i or some other type o/ presentation so/tare hen presenting anddiscussing my project at the end o/ the course2 ill also use ;axosMusic 9i.rary and $he nternational Music "core 9i.rary Project <M"9P=that are online data.ases /or music in hich can 4nd and listen tocertain pieces o/ music2 $here are certain hardare ill .e using asell such as the Apple Apogee >am instrument ca.les and mics hichill allo me to clearly record instruments on clean channels to ensuregood sound2 (or the 4nal presentation and assessment o/ my arti/act ill also need a mature audience ade%uate lighting and a presentationspace2

(irstly ill create a client .rie/ hich states the re%uirements andspeci4cations o/ the arti/act that plan on composing2 ill thencompile a +ariety o/ sources that /ocus on emotion and music as ellas /amous pieces that are recogni:ed /or the certain emotions theyin+o#e the listeners2 ill then create a literary analysis o/ the pre+ioussources and ensure the .i.liography is complete ith citations2 ;extould .e the organi:ation o/ the hardare and so/tare needed as ellas 4nding the appropriate musicians to per/orm sections o/ the piece2 $hen ill /ocus on the composition o/ the music as ell as testingde+elopment and analysis o/ the existing piece2 ?nce am content iththe product ill .egin rehearsing indi+idual parts ith musicians

.e/ore actually recording the 4nal product2 9astly ill produce a hardcopy o/ the arti/act and play it in /ront o/ a mature audience hilstta#ing note o/ reactions and ultimately relating it toards my initialgoals and client .rie/2

am creating this arti/act /or a client ho ill use this piece o/ music todepict a character in a mo+ie ho is seen to .e a re.el and has a /e

)




di5erent instances here he experiences con6ict .eteen +iepointsor morals2 n some ays the piece o/ ensem.le music is a story o/ asuperhero ho has to o+ercome extreme ad+ersaries2

#iterature $eview

My research ould .e /ocused on a num.er o/ sources that range /romshort articles to large dissertations to pieces o/ music that are #nonorldide /or e+o#ing strong passionate emotions to many people2 $he pieces o/ music chose to in+estigate are /rom a range o/ genresincluding classical music /rom the classical romantic and modern era2 also loo#ed at 4lm music and some o/ the most ell #non pieces thata stranger ho had ne+er atched the mo+ie ould recogni:e2 7hoirmusic as also a /eature o/ the music loo#ed at as ell as somemodern music genres such as ja:: pop roc# and progressi+e metal2

Much o/ this pieces loo#ed at as /ocused around instrumental musichoe+er the last /e sources did ha+e lyrics in them hich is here .egan 6irting ith the idea o/ using +ocals in my on piece as ell asin+estigating hat a5ect they ha+e on a small scale2

.egan my research trying to 4nd .asic articles ritten .ypro/essionals a.out ho psychology and emotion lin#s to music2 $hereere immediately %uite a /e possi.le sources ould ha+e .een a.leto choose there/ore too# the sources /elt ere most relati+e interms o/ my project2 @oth o/ the /olloing sources ere /airly similar interms o/ the ay it as ritten and the purpose /or it .eing ritten2

$hey ere .oth ritten in 4rst person .y experts in the su.ject andere aimed to educate people a.out the topic2

$he 4rst source loo#ed at as ritten .y a counselor named ;athan(eiles /rom ;e or# 7ity B"A2 (eiles had studied psychologypre+iously and the source as ritten in >une C1 ma#ing thissource /airly relia.le as it as ritten .y an expert in the 4eldrecently restricting the possi.ility o/ outdated in/ormation2 $he source




as ritten in plain English ithout much scienti4c or psychologicalterminology hinting that this source as meant /or most people toread not solely psychology scholars2 $he source mainly states thatpeople choose their speci4c genre o/ music to listen to .ecause o/emotions ithin themsel+es2 ?+erall the 4rst source is /airly

in/ormational toards my project and as a +ery help/ul source to.egin the research almost acting li#e an introduction to the ide topic28oe+er it ould not really a5ect ho ould end up composing myarti/act2 1

?nce the 4rst source had in/ormed me on the .asic ideas o/ this topicthe second source in+estigated as much li#e the pre+ious one/urther impro+ing my .asic understanding o/ psychology in terms o/music2 $he main di5erence o/ the second source is that included a /airamount o/ data and statistics /rom pro/essionals that ha+e rittenpapers and dissertations on this particular su.ject2 ?ne o/ itDs main

/ocuses as ho emotions synonymous ith music has a higher poerthan ords in terms o/ memory2 (or instance the riter o/ the articleas exposed to a lot o/ (rench music hen he as younger andenjoyed it e+en though he had no idea hat the ords meant has hedidnDt spea# any (rench2 8e states that music has some humanelements that cause us to relate it to our emotions2 $he 4rst is that it isan a.stract language and not a /oreign language that doesnDt ma#eus passionate most o/ the time hereas an a.stract language can2 $hesecond is mo+ements that humans ha+e related ith mo+ements sinceAncient Greece2 8is main point is that it is the human aspects insomething so a.stract that ma#es it memora.le to us2 $he author o/

this article ritten in "eptem.er CC! is a pro/essor o/ 7ogniti+e"cience at the 0ensselaer Polytechnic nstitute named Mar# 7hangi:iho has studied a.out this su.ject in great detail2 7hangi:i is alsoauthor o/ a .oo# called $he Fision 0e+olution suggesting that he isan expert in the 4eld ma#ing this source /airly relia.le2 Again muchli#e the earlier source 7hangi:i doesnDt go into the musical aspectshich ould ha+e aided the composition later on2

$he next /e sources had in+estigated ere all modern sourcesritten .y experts in the current 4eld and in general ere slightlymore in depth and had rele+ant real li/e examples as possi.ly a.le

1 Feiles, Nathan. "How Music Impacts, Helps Our Emotions | World of Pscholo!." Psych

Central.com. N.p., # $une %&. We'. %( Oct. %&).

*han!i+i, Mar. "Wh -oes Music Mae s Feel/0 1cientific 2merican." Why Does Music

Make Us Feel?: Scientific American. 3ensselaer Poltechnic Institute, &4 1ept. %%5. We'. %(

Oct. %&).

*han!i+i, Mar. "Wh -oes Music Mae s Feel/0 1cientific 2merican." Why Does Music

Make Us Feel?: Scientific American. 3ensselaer Poltechnic Institute, &4 1ept. %%5. We'. %(Oct. %&).

H




to dra /rom /or my on arti/act2 ?ne o/ the most use/ul sources in myopinion as the third source ritten .y @en Bshedo in CC hichdiscussed the emoti+ist and cogniti+ist theories in relation to musicand also made clear his 4ndings on dispassionate listening andaesthetic responses2 Bshedo made transparent the /act there are

main ays people may relate to music and lin#ed that they erealready in existence through common theories used in psychology2Bshedo related music ith actions and .eha+ior o/ people saying thatmusic could o/ten cause these2 Bshedo states “The idea for thesecognitivists is that there is a resemblance of music in pitch, volume,rhythm, melody and structure to the natural human expression ofemotion in voice, demeanor and behavior.” $his as hy /ound thissource on o/ the most help/ul at the time as it started to scratch thesur/ace o/ hat ould later on 4nd hilst dissecting the pieces o/music2 Bshedo as the 4rst in my research to lin# musicalcharacteristics to the emotion people may /eel hen hearing them2

$his as only a small section o/ the source hich is hy /elt the needto expand greater on his ritings during the discussion23

$he /ourth source loo#ed at as .y @@7 Arts & 7ulture and seemed/airly relia.le to me as it as a modern arti/act ritten to distri.ute.asic #noledge to people a.out the topic2 8oe+er didnDt 4nd thissource all that use/ul as its main /ocus as on 4lmma#ers and theirmethods o/ touching us through music in their mo+ies2 $his as 4rst o/ all slightly o5 topic /or the music as planning to rite and asnDt inenough depth to pro+e use/ul as the article as ritten more /orentertainment to the pu.lic rather than a source o/ in/ormation /or a

project2'

$he 4/th source as /urther unrelated in general to the aim o/my piece2 Whilst +ery interesting there as no direct lin# o/ ho might ma#e my on project more emotionally energetic e+en though"ancristo/oro has .een a.le to har+est his on 4ndings through hisextensi+e research in Physics to create a pair o/ headphones that helphim con+ert human su.tleties in emotion /rom the electrodes into hison music2 n conclusion /elt that "ource ) as a good example o/ amusician ho has used emotion to rite his on music .ut didnDteducate me to a great extent o/ ho may do it2 Whilst these sourcesere .oth interesting didnDt /eel the need to include their contentsduring the discussion section2)

3 shedo, 6en. "Music 7 Emotion." Philosophy No. N.p., 1ept.8Oct. %&). We'. %( Oct. %&).

' 1tewart, Helen. "How -o Film8maers Manipulate Our Emotions with Music/" !!C Nes.

66*, &) 1ept. %&). We'. %( Oct. %&).

) 1ancristoforo, 9ior!io. "Main! Music from Emotions in 3ealtime." Wire" U# . N.p., %4 Oct.

%&). We'. %( Oct. %&).

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$he sixth source loo#ed at as a less in/ormati+e source as it asnDtan article or dissertation ritten .y a current expert that has studiedthe 4eld extensi+ely .ut instead as ritten .y 7hristian "chu.art inGerman originally hich as later translated into English /or modernuse2 t as ritten in 1,C and there/ore may .e seen as an extremely

outdated source2 $he source states all the #eys o/ music and the/eelings most people associate ith /or each #ey2 t did hoe+er statethat the emotions related to each #ey may not .e accurate /or e+eryperson as there may .e psychological reasons hy one may /eel a #eyis up.eat rather than melancholic2 t as hoe+er extremelyinteresting as had ne+er seen any sort o/ categori:ation o/ musicalscales .e/ore2 had only really .een aare o/ the e5ect on emotionmajor minor diminished and augmented scales had and had ne+erreally imagined speci4c notes in the #ey to ha+e di5erent e5ects moreso the tonality2 t as not particularly use/ul to my 4nal producthoe+er it did gi+e me the choices o/ choosing a #ey or #eys to rite

my piece in2

$he next sources had come across ere +ery di5erent /rom thepre+ious ones as they ere long dissertations a.out the to lin#edsu.jects2 $hey ere .oth extremely in depth and ere rittende4nitely .y experts in the 4eld o/ psychology and music2 ?ne o/ themas a dissertation ritten .y @ernd and *aniela Willime# in Germanand only recently translated in C11 /rom German into English2H $he,C-page dissertation essentially e+aluates scales and emotions relatedto it in as much depth as possi.le2 $hey had di+ided their piece intoto main parts ith the 4rst .eing theoretical harmonies and the

second .eing empirical o.ser+ations - hich ere .asically a largestring o/ tests on people o/ di5erent ages and genders2 $he mosttal#ed a.out test they completed as the 0oc#y $est hich itsel/ ase+aluated2 Whilst the tests ere +ery impressi+e the theoreticalo.ser+ation in part one as hat /elt as most relati+e to my project2 $he Willime#s had e+en gone in so much depth to e+aluate the;eapolitan sixth chord as a sym.ol o/ death2 $he ;eapolitan sixthchord is so uncommon and un#non .y most musicians and mostimportantly so unused in music composition2H

;ot as in depth as the Willime#sD dissertation the next source had

1chu'art, *hristian. "Emotions of the Musical :es." $ra"free.com. ;rans. 3ita 1te'lin. Ed.

:e<in =essmann. N.p., %%>. We'. %( Oct. %&).

HH Willime, 6ernd, and -aniela Willime. "Music and Emotion." -iss. ;rans. =aura 3ussell.

3esearch on the ;heor of Music E?uili'ration, %&&. Music an" %motion. Willime Music,

%&&. We'. %( Oct. %&).

H Willime, 6ernd, and -aniela Willime. "Music and Emotion." -iss. ;rans. =aura 3ussell.

3esearch on the ;heor of Music E?uili'ration, %&&. Music an" %motion. Willime Music,%&&. We'. %( Oct. %&).

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come across as a journal ritten .y Annemie# Fin# ho had largely%uoted /rom the ;ordic >ournal o/ Musical $herapy2 Fin# had relatedhat he said /rom %uotes .y other /amous pro/essors and experts inthe 4eld2 $he journal cites a least C di5erent dissertations andexperiments and had also gi+en an example o/ a ta.le o/ statistics o/

di5erent patients reaction to di5erent styles o/ music2 t is +ery indepth and is structured +ery clearly and neatly and is easy tocomprehend2 @oth these sources are +ery relia.le as they are .oth/airly recent and it is unli#ely that any o/ the in/ormation might .eoutdated2 $he pro.lem ith .oth these sources is the large detail theyha+e .een ritten in and as a result it is highly unli#ely that ill .ea.le to use all the in/ormation2 n addition the !th source might also.e irrele+ant to might cause as it is most lin#ed to music therapy morethan anything else hich isnDt my main /ocus ith this project28oe+er some o/ the %uoted reactions o/ patients o.+iously ill helpmy 4nal arti/act as it might help me understand some o/ the possi.le

outcomes and emotions /elt .y my on piece2,

@oth the sources ere +ery long and there/ore it as diIcult to 4lterthrough all the in/ormation gi+en2 $hey used a lot o/ technical languageand some o/ it as lost on me as e+en a/ter attempting to understandthese technical aspects it as +ery hard to con+ert it into something.ene4cial and use/ul to my on composition2

$he next source proceeded to 4nd as ritten .y >oel ;2 "hur#in hohad ritten this shorter article /or a science .ased e.site calledPhys?rg2 !"hur#in had completely /ocused on the .iochemical

connection .eteen music and emotion hich in /act as the title o/his article2 0e+ol+ed around the science aspect o/ this connection thepiece o/ riting explained in little detail this scienti4c lin# hich had.een re+ealed .y research2 ?ne o/ the scientists "hur#in had %uotedhad used @eetho+enDs classical music to identi/y and e+aluate some o/the e5ects o/ dopamine gi+en o5 hen listening to an emoti+e piece o/ music2 "haron 9e+y a music theory and piano literature instructor inthe most eIcient /amous music school - >uilliard has said that sheintends to in+estigate hether it ould still .e dopamine that a5ectsemotion in other genres o/ music such as ould .e ritten .y (ran#"inatra and 9ady Gaga2 Whilst 4nd this source extremely interesting

there are no actual musical compositional techni%ues that are lin#ed tothis dopamine expulsion2 $he amount o/ dopamine released .y eachperson +aries and di5erent styles or pieces o/ music ould appeal to

, @in, 2nnemie. "Music and Emotion." Nor"ic &ournal of Music 'herapy &%. A%%#B0 &>>84C.

Music an" %motion. National 1cience Foundation, &% $ul %%5. We'. %> No<. %&).

!! 1hurin, $oel N. "3esearch 3e<eals the 6iochemical *onnection 'etween Music and

Emotion." (esearch (e)eals the !iochemical Connection *eteen Music an" %motion. Inside1cience News 1er<ice, &5 $an. %&&. We'. %> No<. %&).

1C




di5erent people2 $here/ore it ould .e unrealistic to aim to create apiece that ould .e emoti+e to e+ery person .ased on dopamine testsand results2 !

$he next source loo#ed at as one o/ the most con/using and in depth

sources had come across throughout my research2 Written .y di5erent experts in the 4eld o/ psychology and its lin#s to the ay the.rain is ired this almost scienti4c in+estigation ent into huge depthas to loo# at the connection .eteen the ays humans use music as a/orm o/ /amiliarity2 t can .e said that the source is +ery credi.le andrelia.le as it as ritten .y six di5erent people and any uncertainpieces o/ data ould ha+e .een discussed and proo/ read .y theothers and there/ore is +ery unli#ely that there ould .emisin/ormation or .iases in any ay2 $here are a lot o/ statistics andnum.ers that ha+e .een associated ith their in+estigations andscienti4c experiment results2 $hey e+en used scienti4c tests and

machinery to try and measure the type o/ emotion - the use o/ the(unctional Magnetic 0esonance maging </M0= system2 Whilst thissource is +ery use/ul /or a long term project it is +ery unli#ely that illha+e much time at all to e+en scratch the sur/ace o/ hat has .eenritten in this dissertation2 t is hoe+er an extremely relia.le sourceritten .y not one .ut many experts2 1C

?nce had /ound these many extensi+e in depth sources .ypro/essionals in the 4elds o/ .oth psychology and music decided todi+ert my attention to ell-#non classical pieces that are orld/amous /or .eing emoti+e2 "ome o/ these pieces ere /rom mo+ies and

some o/ the pieces are ritten .y some o/ the most ell #noncomposers2 decided that the in+estigation and music analysis o/ someo/ the most emoti+e pieces ill help me understand some o/ thecommon compositional de+ices used in each piece to create emotionand the di5erences .eteen the pieces hich ill again help medi5erentiate .eteen hich techni%ues might con+ey certainemotions2 also /elt that reading hat the experts had to say ould .eincreasingly use/ul to hear in a musical context2 All the audio sourcesere listened to on ou$u.e2 n the literature re+ie ill solely .estating the pieces and my intention /or selecting them in particular

! 1hurin, $oel N. "3esearch 3e<eals the 6iochemical *onnection 'etween Music and

Emotion." (esearch (e)eals the !iochemical Connection *eteen Music an" %motion. Inside

1cience News 1er<ice, &5 $an. %&&. We'. %> No<. %&).

1C Pereira, *arlos 1il<a, $oao ;eiDeira, Patricia Fi!ueiredo, $oao a<ier, 1ao =uis *astro, and

El<ira 6rattico. "Music and Emotions in the 6rain0 Familiarit Matters." -iss. Ed. $a Pillai. $ohn

Hopins 1chool of Medicine, 12, %&&. 2'stract. P+,S ,N% . $ohn Hopins 1chool of

Medicine, 12, &# No<. %&&&. We'. &C $an. %&>.

11




and later in the discussion ill analy:e the musical techni%ues andcomposition de+ices stated in the title2

$he 4rst piece decided to loo# at as 4rst introduced to me .y mymusic teacher in the Gardenschool *epartment o/ Music2 $his 4rst

piece as the 4rst mo+ement o/ the 7ello 7oncerto ritten .y EdardElgar and per/ormed .y >ac%ueline du Pre2 chose this piece 4rst dueto my /ondness /or the cello and .eing my /a+orite orchestralinstrument .elie+ed this piece as a good starting place in terms o/emoti+e pieces o/ music2 Edard Elgar as a composer during the lateromantic era2 $he romantic period o/ classical music is ell #non /or.eing the era in hich the orchestra expanded greatly as ell as theincenti+e to .rea# classical norms initiated2 11

@e/ore di+ing /urther into e+en more emoti+e classical pieces decidedto loo# at to pieces /rom /amous modern 4lm music composer >ohn

Williams2 loo#ed at .oth the theme /rom "chindlerDs 9ist as ell asthe *uel o/ the (ates in "tar WarsJ $he Phantom Menace2 "chindlerDs9ist is one o/ the most heart renching mo+ies e+er to ha+e existed asthe scene is portrayed in one o/ the concentration camps o/ ;a:iGermany2 $he emoti+e theme song adds to the already depressingscene o/ the 8olocaust and the death portrayed ith it2 $he mainreason chose this piece is .ecause o/ the memories and melancholicemotions had atching it2 t is important to remem.er that this pieceo/ music as synonymous ith the pain and su5ering so many >eshad itnessed during the "econd World War and the emotion that ise+o#ed might not .e completely the result o/ great musical techni%ues

and compositional de+ices2 Much o/ the sadness that comes ith thispiece o/ 4lm music ould ha+e .een part o/ the story .ehind it21 $he*uel o/ the (ates depicts a .attle .eteen to >edi <protagonists= and a"ith 9ord <antagonist= and is essentially the duel .eteen good ande+il2 t .egins ith a haunting +ocal chorale at the .eginning o/ thepiece hen the "ith 9ord is re+ealed to the to >edi and thenprogresses to continue throughout the duel until one o/ the good /allsto the e+il2 $his piece as +ery memora.le as a child due to theexcitement pity sorro and rage that this particular scene made me/eel2 ?nce again much li#e "chindlerDs 9ist it must .e remem.eredthat much o/ the emotions experienced through the music may also .e

accredited to the storyline213

11 Edward El!ar, *ello *oncerto in E Minor Op.C4G, $ul &5&5,

http0www.outu'e.comwatch/<OH%JK;**KI

1 $ohn Williams, ;heme from 1chindlerLs =istG, &55&8&55), http0www.outu'e.comwatch/

<i'$$9pPM2

13 $ohn Williams, -uel of the FatesG, Octo'er &55C 8 Fe'ruar &555,

http0www.outu'e.comwatch/<$&!HcJd'#%,

1

http://www.youtube.com/watch?v=OH0jUQTCCQI

http://www.youtube.com/watch?v=kibJUJGpPMA


http://www.youtube.com/watch?v=J1gH_cjdb60








A/ter listening to three pieces o/ music that had .een centered onstring instruments decided to ha+e a loo# at a piece o/ music that ascomposed /or +oice2 Written /rom 1!- 1! .y (ran# Martin the Mass/or *ou.le 7hoir .elie+e the emotion /elt .y listeners ill di5er /romthe pre+ious to sources due to the contrast in instrumentation2

Whilst there ere di5erent textures to compliment each other in thepre+ious pieces Martin utili:ed di5erent pitches and ranges o/ +oicesto create a piece o/ music that had ' distinct parts - "oprano Alto $enor and @ass2 $he use o/ lyrics may also in+o#e a di5erent emotionhoe+er to a common listener it ould .e diIcult to identi/y thesylla.les let alone understand them in 9atin2 $he main reason /orchoosing this piece as mainly due to the change o/ style as ell asthe uni%ue emotions one may /eel hen listening to sacred music21'

"ergei 0achmanino5 as my next su.ject o/ interest and more thananything his Piano 7oncerto ;o2 in 7 Minor ?p21, ritten in the early

Cth century2 .elie+ed that this piece as largely rele+ant to my topicas it is a piece hich e+o#es a great amount o/ sorro and poignancy/rom the struggle o/ 0achmanino5 himsel/ in his personal li/e2 8is 4rstpiano concerto recei+ed a/ul re+ies /rom critics and he .elie+ed thathis 4rst piece as a complete let don to himsel/2 0achmanino5 asgreatly hurt .y these statements and su5ered se+ere depression /orse+eral years and hence or#ed e+ery day /or another year and a hal/per/ect the nd piano concerto2 8is languish and struggle can .e heard/rom the minor tonality and dissonance he portrays throughout thepiece2 8is setting hilst riting the piece as the main reason /orchoosing it21)

$he next sources loo#ed at ere again classical pieces /amous /ortheir emoti+e %ualities2 Written .y @eetho+en the Moonlight "onata in7K minor is ell #non /or the despair it portrays along ith the senseo/ loss /elt .y the listeners and almost puts you in a mourning state2 tis important to note that the name Moonlight "onata as not gi+en .y@eetho+en as he instead original named it Luasi una (antasia hichtranslates into almost a /antasy hich explains the 6oaty /eelingtoards the piece2 Whilst not .eing relia.le it is also important to notethe /act that it has .een rumored that the sonata as ritten a.out a1H year old countess @eetho+en as in lo+e ith2 8oe+er she as

/rom a ealthy /amily and couldnDt .e ith @eetho+en as he as seenas not good enough2 $his could explain @eetho+enDs melancholy andhis desire to ant to .e ith her hich ere in reality only a /antasy2?nce again e can see the emotions emitted /rom the riter itsel/ into

1' Fran Martin, Mass for -ou'le *hoirG, &58&5#, http0www.outu'e.comwatch/

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1) 1er!ei 3achmaninoff, Piano *oncerto No. in * Minor Op.&CG, &5%% 8 $ul &5%&,

http0www.outu'e.comwatch/<DCl)(utDMK

13

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http://www.youtube.com/watch?v=x8l37utZxMQ







the music hich ma#es it that much more emoti+e and rele+ant to thelisteners as it as experienced and not mani/ested2 $his source mightnot .e as credi.le as the others as it as ne+er con4rmed that thispiece as a.out the countess and as only a rumor21

$he next piece loo#ed at as .y *mitri "hosta#o+ich entitled"ymphony ;o2) in * Minor2 t is considered to .e a modern classicalpiece as it as only ritten in 1!3H and is ell #non as one o/ themost emoti+e pieces that portray the dar# and mysterious emotions2"hosta#o+ich as ell #non /or his grim and enigmatic composingand this piece o/ music as no di5erent2 chose this piece mainly dueto the o.+ious emotion o/ sadness heard2 t does help me ith my onproject as "hosta#o+ich clearly uses some compositional techni%ues tocreate this disarray and pandemonium hich ill allo me to createthese emotions to a /air extent i/ needed21H

(or the next sources decided to loo# at a less common genre o/music2 am +ery passionate a.out metal music and ha+e alays /eltthat metal can generate as much emotion as classical music2 ha+ealso /elt that there are many characteristics o/ classical music as ellas ja:: music in metal music and intend to expand on this /urther inthe discussion2 $he 4rst piece chose as called ;octurne .y a neage .and called $esseract2 My main excitement /or choosing this pieceas /rom the complexity o/ the all the parts in relation to regularmodern music2 $his piece as composed on H string guitars in a lotuning expanding the range a+aila.le to the composers2 t also posseslyrics hich /actor into the main emotions heard21, $he other metal

piece chose as also .y a ne age progressi+e metal .and the trac#title 0agnaro#2 $his piece as a much hea+ier metal piece as itincluded an e+en loer tuning on guitars as /aster paced as ell asincorporated screaming in the +ocals2 $he main reason chose thispiece as due to the hea+y syncopation that is heard throughout thepiece as ell as the changes toards the end o/ the song during theclean +ocal parts hen it .ecomes almost li#e a pop song chorus2 $hemeaning .ehind .oth these songs also /actor in the emotion personally /eel hen listening to them2 ;octurne is a.out a man hois trapped ithin his on dreams and 0agnaro# is a.out the end o/ theorld and the sadness that comes ith accepting our /ate21!

1 =udwi! <an 6eetho<en, Piano 1onata No.&> in * Minor Op.( No.G, &C%&,

http0www.outu'e.comwatch/<fod%i;&e5oE

1H -mitri 1hostao<ich, 1mphon No.4 in - Minor Op.>(G, 2pril &5)( 8 $ul &5)(,

http0www.outu'e.comwatch/<;?s(tKW>C7featurep

1, 2cle :ahne, 2mos Williams, ;esseract, Of MindG,%&, http0www.outu'e.comwatch/

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1! Misha Mansoor, 1pencer 1otelo, Peripher, 3a!naroG, %&,

http0www.outu'e.comwatch/<3HF@t!s*+I

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http://www.youtube.com/watch?v=fod0iT1e9oE

http://www.youtube.com/watch?v=kTqsU7tQW48&feature=kp

http://www.youtube.com/watch?v=VTpjTgg2HhM










$he next piece o/ music chose as a /amous >a:: piece .y *u#eEllington titled Mood ndigo2 chose this piece due to the melloness incontrast to the /e pre+ious pieces o/ music2 also enjoyed thechanging /ocus through di5erent instrument throughout this piece

/rom the piano to saxophone and clarinet and others2 $he solos /romeach player present a di5erent style and emotion through his playing2 .elie+e the particular scales used in this style o/ ja:: may in6uence aleadmelody line to .e inspiring2 C

$he next couple o/ pieces loo#ed at ere .oth poproc# pieces thatmany more people ould .e /amiliar ith2 $he 4rst piece is calledN?neD .y the .and Metallica2 $he song depicts a soldierDs experienceduring .attle in the Middle East2 t depicts the experience to .e +erymor.id and depressing re6ecting on the unnecessary ar and death inthe modern orld2 t starts o5 ith a +ery som.er guitar duo ith a

+ery catchy guitar solo and then proceeds ith a +ocal melody as ellas a sitch .eteen a louder part ith distorted guitars and theregular mello .eginning theme21 $he other pop song chose ascalled NEnough (or ;oD .y $he (ray2 $he song as ritten .y the+ocalist and pianist saac "lade a.out the relationship .eteen hisgrand/ather and his mother and ho his grand/ather alays longed /ora son and ne+er ga+e his mother hat she needed or deser+ed2

$he last source decided to in+estigate as the /amous piece calledthe N$hrenody to the Fictims o/ 8iroshima .y Or:ys:to/ Penderec#ihich essentially is his tri.ute to the people ho died as a result o/ the

atomic .om. dropped .y the American Military to end the secondWorld War2 t is a +ery terri/ying piece due to the unorthodox method inhich Penderec#i depicted the attac#2 .elie+e that this source ishighly use/ul to me as you can e+o#e expression and emotion throughpushing the standards to the extremes and ta#e the audience .ysurprise2 $his piece is so shoc#ing to any 4rst listener and many peopleha+e .randed it music not 4t to listen to2 8oe+er this doesnDt ta#eaay the emotions that are exuded hen listening to $hrenody as theexpression recei+ed .y the instruments is .eyond any other piece inmy opinion2 .elie+e that this source is highly use/ul to me as you can

C -ue Ellin!ton, Mood Indi!oG, &5)&,http0www.outu'e.comwatch/<9oh6HaHapC

1 $ames Hetfield, =ars lrich, Metallica, OneG, &5CC8&5C5, http0www.outu'e.comwatch/

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Isaac 1lade, $oe :in!, ;he Fra, Enou!h For NowG, %%5,http0www.outu'e.comwatch/

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e+o#e expression and emotion through pushing the standards to theextremes and ta#e the audience .y surprise2 Whilst might not usethis techni%ue to in+o#e a /eeling o/ sadness on my listeners itcertainly shos that a lot o/ theoretical #noledge and application cancreate di5erent emotions in oneDs music2

Whilst might not use this techni%ue to in+o#e a /eeling o/ sadness onmy listeners it certainly shos that a lot o/ theoretical #noledge andapplication can create di5erent emotions in oneDs music23

A/ter the 4rst dra/t o/ my literature re+ie as completed it came tomy attention that didnDt ha+e any sources that demonstrated thes#ills needed /or the project2 $here/ore loo#ed at to similar sourcesa.out methods and techni%ues o/ recording li+e music in particularelectric guitar each source expressing di5erent ays to maximi:e toneand sound2

$o pro/essional guitarists Paul White and *a+e 9oc#ood rote the4rst source in+estigated2 $his there/ore ma#es the in/ormation /romthe source relia.le as .oth riters ould ha+e had experiencerecording music /or guitar and their main aim is to educate youngerand less experienced guitarists to o.tain an optimum sound hen theyare 4nding a good recording sound2 $here as a lot o/ in/ormationgi+en in the article and some o/ the #ey terminology and conceptsere con/using2 "ome o/ the pieces o/ in/ormation included so/tareand hardare that didnDt ha+e and didnDt manage to get2 ?+erall itas a use/ul source .ut much o/ the in/ormation as irrele+ant2 ?nemain dou.t a.out the source as the /act that it as ritten in 1!!,

and is ritten largely a.out technology and there/ore could .einaccurate due to the /act that much o/ the technology used 1) yearsago is no redundant or has changed largely2'

$he next source as a more recent source ritten in C1 thatexplains ten steps to getting a good guitar sound hilst recording2"ome o/ the in/ormation as +ery use/ul as asnDt expecting some o/ the tips2 (or instance the second tip as to isolate the ampli4er /romthe ground hich asnDt something had thought a.out hilstrecording2 t applied to a lot o/ hat as doing as had a lot o/ themusical e%uipment they ere tal#ing a.out2 )

3 :r+s+tof Pendereci, ;hrenod to the @ictims of HiroshimaG, &5#%,

http0www.outu'e.comwatch/<-p)6lFW$N2

'' White, Paul, and -a<id =ocwood. "% ;ips On 3ecordin! 9uitars." - 'ips ,n

(ecor"in/ $uitars. 1ound on 1ound, 2u!. &55C. We'. %( Oct. %&>.

1

http://www.youtube.com/watch?v=Dp3BlFZWJNA





loo#ed at to sources that ere related to the composition o/ thepiece2 t ent through the s#ills and techni%ues needed /or composingand some ideas to thin# a.out2 ?ne as called A Practical Guide toMusic 7omposition ritten .y Alan @el#in in the late 1!!CDs2 $he most.ene4cial section o/ the guide as the second section – the .asics as

it touched upon each idea @el#in intended to address in a succinctmanner2 t as /airly rele+ant to my project2 t as as /airly large guideand there/ore li#e the other dissertations explored earlier asnDta.le to unco+er the /ull depth o/ the article and as only a.le to tal#a.out small parts o/ the guide that ere rele+ant to me2

$he 4nal source loo#ed at as extremely rele+ant to the type o/ music as composing2 t is entitled Bsing Am.ient $echni%ues /or7omposing2 t as largely rele+ant as some sections o/ my on pieceere .ased on the idea o/ am.ient guitar music2 t also emphasi:es theimportance o/ limiting the num.er o/ options you ha+e hilst

composing2 t only mentions am.ient music at the .eginning .uta/terards continues to gi+e rele+ant and use/ul in/ormation on ho totac#le music composition2 t asnDt as .ene4cial as the pre+ious sourceon s#ills a.out composition .ut as use/ul ne+ertheless2H

&iscussion

$he discussion section o/ my Extended Project ill .e split into maincategories2 $he 4rst part ill .e loo#ing at the psychological aspects o/ music and emotion and mainly ta#ing the most .ene4cial parts o/ my

4rst 1C sources2 ill .e trying to extract use/ul in/ormation that illha+e an e5ect on my arti/act and ill state in hat ay and ho ha+e used that particular material in my composed piece o/ ensem.lemusic2 $he second hal/ o/ my discussion ill contain the musical aspecto/ the piece mainly /ocusing on dissecting and analy:ing the pieces ha+e chosen in sources 11 through 32 $he musical aspect o/ thisdiscussion ill also .e su.categori:ed into di5erent musical groupingsand characteristics such as tim.re dynamics etc2 am expecting thesecond section to .e relati+ely easier to 4nd use/ul material due to the/act ill .e a.le to hear the musical techni%ues and /eatures clearlyhereas the psychological aspect ill .e harder to con+ey and predict

exactly hat musical su.stance may use to portray a certain emotion2)) O*onnor, 1hane. "3ecordin! Electric 9uitars0 1ecrets of the Pros." Delicious

Au"io. N.p., ) No<. %&. We'. %( Oct. %&>. Belkin, Alan. "Review: Nuts & Bolts: A Practical Guide to Teaching College

Composition." College Composition and Communication 45.2 (1994): n. pag.

Dolmetsch.com. Web. 07 Oct. 2014.

HH Latta, West. "Using Ambient Techniques For Composing - Tuts+ Music & Audio

Tutorial." Music & Audio Tuts+. N.p., 20 Jan. 2010. Web. 07 Oct. 2014.

1H




then proceeded to add another section at the end o/ this called"#ills$echni%ues to demonstrate the main important pieces o/in/ormation had to #no .e/ore composing my piece2

also decided to ela.orate on the de+elopment process o/ the actual

composing and recording o/ the piece2 decided to add this sectionunder the on heading Nde+elopmentD to ma#e sure had shonclearly the progression and process had ta#en to re4ne and .etter myarti/act2

Psychological Aspect

n the 4rst source loo#ed at .y ;athan (eiles he immediatelymentions ho e are prone to listening to music that re6ects ourmood2 8e presents the +ie that up.eat music is synonymous ith.eing happy and the same /or slo music .eing a re6ection o/

sadness2 8ere (eiles claims that tempo is a clear resem.lance o/ ouremotion and our choice o/ music in the moment2 (eiles also ta#es tohypothetical patients stating their interest in sad or aggressi+e musicduring a certain part o/ their li+es i2e2 during depression or loss o/ alo+ed one2 8e states music as a coping strategy and suggests thatchoices o/ music change depending on here you are mentally in yourli/e2 (rom this source only really plan on using changes in tempos toattempt to change the /eel o/ piece at di5erent parts o/ thecomposition2 $he part a.out underlying emotions selecting certainmusic /eel couldnDt .e included due to he /act that my sampleaudience are all di5erent and ill not all /eel the same emotions2

Mar# 7hangi:i also states similar things to (eiles explaining anexperiment done on humans in hich the results shoed that anexperience o/ happiness or sadness is exaggerated a/ter listening tosad or happy music2 7hangi:i also states that the stimulus that ma#esmusic so emoti+e is the human elements o/ it to o/ the main ones.eing speech and .ody language2 7hangi:i states at the end While itis not easy /or us to see the human ingredients in the modulations o/pitch intensity tempo and rhythm that ma#e music perhaps it iso.+ious to our auditory homunculus2 8ere he is saying that thehuman elements o/ music are there in the /orm o/ musicalcharacteristics2

$he 4rst three sources that loo#ed at all said things along the samelines .ut @en BshedoDs article o/ music and emotion explained this andput it clearer than any other source2 As mentioned +aguely in .oth7hangi:iDs and (eilesD articles Bshedo explains the cogniti+ist theoryhere human expression and .eha+ior is resem.led is pitch +olume

1,




rhythm and structure2 $his again hints at hy cogniti+ists .elie+e sadmusic is represented .y a slo tempo and a lo pitch hereas angryaggressi+e music can .e portrayed as high pitched loud /ast and ithsharp sudden .rea#s2 Bshedo %uotes /rom .oth Peter Oi+y and >enni/er0o.inson ho .oth ha+e also studied the cogniti+ist theory2 $his

theory hoe+er can .e countered .y saying that it assumes all peopleare generated to react and /eel in the same ay hereas this isclearly not the case2 n emoti+ist theory music is an e5ect andsometimes a cause o/ a /eeling2 >enni/er 0o.inson states hodistur.ing passages cause us to /eel distur.ed and meanderingpassages ma#e us /eel uneasy and etc2 Emoti+ist theory is #non to.e critici:ed /or .eing too much li#e pathetic /allacy – in hich eproject our emotions onto o.jects or in this case sound2 un/ortunatelydidnDt 4nd a ay to incorporate the +ies o/ emoti+ist and cogniti+isttheories into my composition as didnDt completely understand it in itsentirety2 8oe+er a /e o/ the clearer explanations in .oth theories

ere +ery use/ul as the di5erent musical characteristics ere classi4edas causing di5erent emotions2

When loo#ing at di5erent #eys to determine hich #eys ould .esuita.le to select /or the arti/act mainly re/erred to the source .y"chu.art2 As my goal as to create a piece o/ music that in+o#essadness most o/ the major #eys ere /airly easy to rule out hoe+erthe pre+ious sources arned me that not e+ery person ouldnecessarily 4nd a minor tonality sad2 selected to main #eys tocompose in hoe+er it is important to note that the #eys in the piecestill +aried .eyond these to #eys hilst .eing mainly centered

around it2 $he to #eys ere 7 minor – stated as .eing a lament o/unhappy lo+e and the sighing o/ lo+e sic# souls2 G minor as theother #ey selected hich suggests discontent and uneasiness as ellas resentment and disli#e2

$he three dissertation type sources loo#ed at ere +ery diIcult toproperly extract %uality pieces o/ data that ould e+entually help my4nal composition2 /ound the most use/ul and .y /ar the mostinteresting as the dissertation .y the Willime#s2 (or instance in their4rst section the concept o/ the leading note in a scale is discussed2 $hey claim that upon hearing a leading note or e+en a suspension

listeners percei+e the dissonance and creates a /orm o/ annoyance2 $hese listeners su.consciously intend to hear this resol+ed hoe+er itis said that they identi/y themsel+es ith this /riction and dissonanceand ant to hear it unchanged2 $hey descri.e it as a .attle .eteenthe conscious and su.conscious hich is a ell-#non psychologicalo.ser+ation2 $here/ore ould .e a.le to create a section o/ the pieceith suspensions in attempt to create is /eeling o/ uncertainty in theminds o/ the listeners possi.le in+o#ing the emotion o/ /rustration or

1!




sadness2 When they also descri.e the characteristics o/ a minor chordthey descri.e it as a suppressed major chord ith a clouded majorthird as opposed to a regular minor third inter+al2 $hey also commenton the di5erent typed o/ ay o/ playing a minor chord playing it sloindicating sadness and /ast indicating anger2 $hey also state that

o/ten a major chord can actually ha+e the deception o/ ha+ing a minortonality hen it is used as a dominant chord in a minor #ey2 $his majorchord in the minor #ey can .ring a.out the /eeling o/ hope a/ter .eingin a NsadD state already in a minor #ey and essentially a /eeling o/discontentment a.out the /eeling o/ discontentment2 Many morecharacteristics li#e this are explained such as the major su.dominantchord expressing tran%uility and the minor chord goes ith tensionand courage2 $hey also state that the added sixth to a major triad addsarmth and security hereas an added sixth in a minor triadresem.les heart.rea# and loneliness2 $he also tal# a.out ho the;eapolitan sixth chord resem.les death2 (right is also portrayed in the

diminished chord and surprise and ama:ement in the augmentedchord2 $his as the most use/ul source so /ar as experimented andused many o/ these perceptions .y the Willime#s in my on arti/actmany o/ these chords ere used to try and create the said emotions2

$he other to dissertations ere much harder to extract in/ormation/rom2 $he one Fin# rote a.out music therapy didnDt ha+e too muchthat could use simply .ecause it as mainly /ocused on musictherapy2 Fin# tal#s a.out ho adults are much .etter at recogni:ingemotions and /eelings through music than younger children2 $he onlyreal ay this had helped me as to reassure my decision to play my

arti/act and o.ser+e the emotions o/ a mature audience at the end2 $he source ritten .y ) or experts as pretty muchincomprehensi.le due to the detail and complexity it as ritten in2Most o/ it as scienti4c and all o/ the experiments ere testing the.rain and the e5ect on the music on di5erent parts o/ the .rain2 there/ore concluded that couldnDt really use any o/ the su.stance /ormy on arti/act2

Luite a /e o/ the sources on the psychological aspects erenDt +eryin/ormati+e2 $he @@7 source ritten .y 8elen "teart as interesting.ut as too simplistic to .e o/ su.stance2 "he did tal# a.out the

tension that 4lm music composers create through lo +i.rations and/eed.ac# during intense 4ght scenes or high-pressure scenes2"ancristo/oro also discussed the recording aspects coming /rom aphysics angle tal#ing a.out minute .raina+e changes that are pic#edup .y electrodes2 "ancristo/oro is also experimenting on the samesu.ject .ut at a much higher le+el that un/ortunately canDtcomprehend2 >oel "hur#in tal#s a.out the e5ects o/ dopamine releasedhen a particular song hich gi+es us more passion and emotion

C




hen listening excites us2 ?nce again ould not .e a.le to measureamounts o/ dopamine not ta#ing into account that e+ery personreleases a di5erent amount o/ dopamine hen experiencing di5erentmusic2

Musical Aspect

n this section ill .e su.categori:ing the di5erent musical aspects o/ the pieces D+e listened to into certain characteristics2 (or instance thesu.category NPitchD ould contain di5erent sections /rom any o/ the 13pieces o/ music ha+e listened to hich portray to .e e+o#ing acertain emotion through the characteristic NPitchD2 t is important tonote that the o.ser+ations are mine and the emotions /elt ere alsomine meaning that my comments and remar#s may not register ithanother person listening to song2 8oe+er many o/ these pieces are

/amous and are #non to e+o#e a particular #ind o/ /eeling andthere/ore the idea o/ su.jecti+ity o/ /eeling di5erent emotions stated.e/ore is lessened2

Dynamics

As stated in many o/ the 4rst /e sources o/ the psychological aspectdynamics can highly a5ect the emotions e percei+e /rom a passageo/ music2 (or instance sadness .eing depicting .y a so/t dynamicindicating sorro and som.erness2 Most o/ the pieces listened to usedynamics numeral times to e+o#e emotions2 $he use o/ dynamics as

most su.stantial in the 4lm music ritten .y >ohn Williams inparticular *uel o/ the (ates2 n this piece it .egins ith a /airly so/tdynamic most li#ely me::o piano as e progress hoe+er it naturallycrescendos into a large all o/ sound ith the hole orchestra playingtogether2 t 4nally climaxes and then returns to an e+en so/ter dynamicthan at the .eginning2 $he idea o/ this is to portray the .eginning o/ aduel .eteen the good and e+il and the changing dynamics indicate amore important part o/ the 4ght rising ith tension during thecrescendo2 t is also dominant in "hosta#o+ichDs )th "ymphony herehe uses a changing dynamics and most noticea.ly %uic# crescendosand diminuendos at the .eginning o/ the 4rst mo+ement2 "hosta#o+ich

also uses a large crescendo to descend into chaos .e/ore utili:ings/or:andi in di5erent groups o/ instruments to create shoc# andsurprise2 Penderec#i in the $hrenody again also uses this same ideadepicting immense chaos and death .y using a crescendo andmaintaining a loud dynamic2 n contrast Metallica use a so/t dynamicin the opening o/ N?neD creating a som.er tran%uil sound2 n the*ou.le 7hoir /or Mass $he constant change in these dynamics.eteen other parts again reminds the listener o/ the incessant cycle

1




o/ the rise and /all o/ their +oices along ith their emotions2 $he mostell #non section o/ this mass is the opening o/ 2 Gloria here thechants sing Gloria in excelsis deo a/ter the antiphonal section.eteen the +oices2 $he crescendo and ascension in the scale alongith the suspensions le/t .y the di5erent parts ith the opening

creates a sense o/ /ul4llment and is o+erall an upli/ting piece o/ musicthat is ell #non /or these reasons exactly2 Whilst dynamics are toughto portray accurately through an electric guitar my instrument o/choice /or the arti/act ill .e a.le to alter the le+els o/ eachindi+idual layer to create technologically accurate crescendos anddiminuendos2 $o create a sense o/ panic may e+en add a /eunexpected loud sections in the piece2

Timbre

$he choice o/ instruments in each piece .elie+e clearly in6uences theay e depict the emotion2 (or instance a (rench horn or trumpet issynonymous ith grandeur and majesty hereas an o.oe is #non toe+o#e a sense o/ loss or mourning2 8oe+er this is partly irrele+antdue to the /act ill .e mainly using guitars to compose my piece2 My/a+orite personal example is ElgarDs cello concerto here theresonance and thic#ness o/ the cello e+o#es the emotion o/ hope andsadness at the same time2 $he holloness o/ the loer pitched noteson the cello also creates a sense o/ mourning2 $his has a /airly similare5ect that the use o/ the +iolin has on listeners in .oth "chindlerDs 9ist.y Williams and the $hrenody .y Penderec#i2 t shos ho the high

shrie#ing notes in the $hrenody can depict chaos death and su5ering2t is also meant to depict sorro death and pain in "chindlerDs 9isthich portrays the li/e o/ the ensla+ed >es during the time o/ ;a:iGermany2 (urthermore in *uel o/ the (ates .y Williams Williams alsouses the o.oe to play one o/ the melodies to exempli/y sorro andlament during the .attle - almost as i/ to say that no much ho muchar there is it ill only result in .loodshed - it is ine+ita.le2 $hechorale is then contrasted ith some dissonant chords in the .rasshilst the main chromatic theme is played underneath to clearlye+o#e chaos2 Whilst my arti/act ill .e ritten on guitars there aree5ect pedals that ill use that can each create a di5erent tim.re

thus .eing .ene4cial to my 4nal or#2

Tempo

n attempting to portray a sense o/ sadness in a piece o/ music thetempo is generally su.jecti+e hoe+er a slo tempo is usually #nonto gi+e a sad /eeling to the listeners2 n @eetho+enDs Moonlight "onata




as ell as the cello concerto the use o/ ru.ato in some sectionscreates a /eeling o/ sadness and uncertainty in listeners2 Whilst tempois an important /actor o/ e+o#ing emotions .elie+e it is +erysu.jecti+e as %uic# tempos can still ha+e a saddening e5ect on thelisteners hilst a /e slo tempo pieces o/ music can .e +ery relaxed

hope/ul and encouraging2 $his is shon in Mood ndigo .y *u#eEllington hich can .e classi4ed as a moderate to slo tempohoe+er is still +ery peace/ul and serene due to the tonality andharmony presented .y the trio o/ the saxophone and to trom.ones2(or my piece ill li#ely use a slo tempo throughout the piece due toits common use in the emotion o/ sadness2 do hoe+er plan to alterthe tempo at some places or rather change the duration o/ notes tocreate the /eeling o/ an increasing tempo <accelerando=2 also intendon 4nishing the piece ith a rallentando hich is a gradual decreaseo/ speed2

Articulation

t is generali:ed that staccato is a hint o/ up.eat music and legato isused in much sloer 6oing music styles2 $he staccato is clearlyheard in the song .y $esseract named N?/ MindD2 At the .eginning theH-string guitar plays short detached notes in the loer registercreating a +ery up.eat exciting /eel2 t is contrasted ith the +ocals o/ $esseract hoe+er hich are extremely legato and create a sense o/

pleading and sadness2 $he melody lines in .oth the cello concerto and"chindlerDs 9ist are .oth legato em.ellishing the 6oing nature o/ .othpieces creating a /eeling o/ a long dran out emotion2 $here as alsoa lot o/ use o/ .oth tenuto and /ermata in @eetho+enDs moonlightsonata as ell as the *uel o/ the (ates .y Williams2 n my arti/act plan on ma#ing the chord progression legato as ell as most o/ themelody hoe+er intend to create a melodic repetiti+e line ithstaccato to create a contrast2

Tonality

$he tonality in most o/ these pieces is a minor tonality ith a /eexceptions at certain parts o/ the pieces2 (or instance the choruses o/0agnaro# .y Periphery ?/ Mind .y $esseract and ?ne .y Metallica allha+e a major tonality2 Whilst this doesnDt completely indicate sadness .elie+e the contrast .eteen the minor and major tonality in one piecegi+es a higher signi4cance to the minor tonality as it gi+es the listenera chance to experience a di5erent emotion .esides the sadness

3




putting more emphasis on the sadness2 Most o/ the classical pieces ha+e chosen ha+e a minor tonality2 $he most noticea.le tonality is /romPenderec#i as he continuously incorporates dissonance to createchaos and in some ays can .e concluded as .eing atonal2 $his ta#esaay the /act o/ tonality .ut the su.stitution o/ the dissonance still

creates a terri.ly sorro/ul emotion2 As already esta.lished earlier inthe discussion the #eys chose ere /rom the chart .y "chu.art .utthe aIrmation o/ using a minor tonality as /rom the pieces as ell asthe idea to use major tonality sections2

Pitch

As seen in almost all o/ the pieces pitch .arely a5ects ho sad aparticular piece o/ music is2 (or instance in the $hrenody Penderec#iuses an extremely high pitch in almost all the parts especially the+iolin part to create the /eeling o/ disorder and .edlam2 n contrast tothat 0achmanino5 uses the lo octa+es and .ro#en chords o/ thepiano in the le/t hand in his Piano 7oncerto2 $his lo rum.ling againcan create the /eeling o/ despair2 $he middle range pitch can .e just asdepressing as shon in @eetho+enDs Moonlight "onata Mo+ement 1ith the arpeggios in the piano creating again a +ery sorro/ul /eelingto the listener2 We canDt completely disregard pitch hoe+er do.elie+e that ha+ing a di5erence and a +ariety o/ pitches during mypiece ill .ene4t the purpose due to the di5erent types o/ desolationthat come ith di5erent pitches2 $his is seen in the 7hoir /or *ou.leMass .y (ran# Martin here there is a large range o/ pitches in many

di5erent +oices and hen put together still may sound +erymelancholic2

Melody

$he melody in each piece +aries hoe+er .elie+e /ocusing on leapsin the melody ill .e +ery e5ecti+e in creating sadness or in /act anyemotion2 $he opening melody o/ the cello concerto already possesseda /e leaps hich .elie+e ma#es the passage much more interestingto the listener2 $he cello has a ide range .ut is predominantly a loerpitched instrument2 ts loer range can create at times a stirring yetcalming rum.le hilst its higher pitch also allos /or +i.rato andcontrast .eteen these pitches alloing /or large leaps that canalmost /eel li#e a s#ipped heart.eat2 *u Pre then proceeds to ma#e ahigh octa+e leap in the third mo+ement again draing emotion out o/the piece and projecting it onto the audience2 $his concept is also seenin the opening melodic section o/ the theme /rom "chindlerDs 9ist2 $he4rst most nota.le musical techni%ues are presented in the opening

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line o/ the piece here the lead +iolin plays to large leaps as ell asutili:ed long sustained notes and a nota.le amount o/ +i.rato2 $he 4rstleaps are a typical example o/ emotion in music as larger inter+als are#non to .e more expressi+e than step inter+als are2 $he perpetualuse o/ +i.rato during the opening phrase also adds to the sadistic

imagery as the +i.rations and 6uctuations add to the emoti+e scene inthe mo+ie2 n the *ou.le 7hoir /or Mass the use o/ +ocals also allos/or there to .e harmonies .eteen the parts and it can .e argued thatthe +oice can portray and e+o#e crescendos and diminuendos ell itha large amount o/ expression2 there/ore intend on using a melody ithleaps simply to attract and pull more interest and there/ore moreemotion2 $his also inspired me to use harmony /or many o/ the leadparts as ell as some o/ the melody2

Texture

$he 4rst notice o/ a contrast o/ texture /or me as in 0achmanino5DsPiano 7oncerto2 $he piece .egins simply ith the piano .ut is later joined and accompanied .y the hole orchestra hich hen heard is+ery clearly implying an o+erhelming degree o/ anguish ith this nethic#er texture2 ?nce presenting the 4rst to themes o/ the piece iththe orchestra he uses /ragments /rom .oth these themes to presentand unsta.le and uncertain /eel to his piece attempting to sloly .uildne passages o/ the piece2

ompositional Devices

"hosta#o+ich enjoyed riting grim and /rightening music and thisimmediately shoed in the high pitch shrills o/ the +iolins to create alarge dissonant sound2 n contrast to that "hosta#o+ich uses a slomo+ing .ass line hich creates a hea+y and eighted /eel to thepiece2 8e e+en /urther creates a sense o/ chaos .y using the .rasssection and cym.als together to play loud dissonant chords ithsurprise2 8e does hoe+er contrast sections li#e these ith tran%uilsom.er sections such as the 6ute melody that emerges a/ter the 6urryo/ instruments playing hectically creating the imagery o/ escape ore+en the calm a/ter a storm or the acceptance a/ter a disaster2 $hepiece goes on /or a +ery long period o/ time and "hosta#o+ichreiterates some o/ these already existent ideas2 Whilst it ould .e +erydiIcult to analy:e the hole piece in great detail at all it is clear that"hosta#o+ich uses dissonance and chromaticism clashes .eteeninter+als and unexpected surprises along ith loud and louderinstruments to create the imagery o/ chaos and .edlam and to dri+ethe listeners to the edge o/ insanity to hich he does +ery ell2 $his

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piece doesnDt directly e+o#e a /eeling o/ sadness or sorro .ut insteadre+eals a sense o/ pity and shoc# in my opinion toards the audience2t does hoe+er help me ith my on project as "hosta#o+ich clearlyuses some compositional techni%ues to create this disarray andpandemonium hich ill allo me to create these emotions to a /air

extent i/ needed2 n terms o/ compositional de+ices mainly plan onusing a minimalist techni%ue and layering as ell as repetition2 alsoplan on using some se%uencing ith a /e lead lines as .elie+e itpresents the listeners ith a sense o/ /amiliarity toards the piece2

!yrics

A/ter loo#ing at the last /e pieces most o/ hich had lyrics it aseasy to come to a conclusion that lyrics most de4nitely ha+e a largee5ect on your emotions as a listener2 n my opinion each o/ the 'songs ith lyrics had their on meaning2 ?/ Mind .y $esseract as

a.out a man ho has .een trapped inside his on head and ishaunted .y the memories o/ a past relationship2 0agnaro# .y Peripherycan .e seen as either the end o/ the orld and the real apocalypse oreither as a man ho is /ed up a.out li+ing a mundane li/e and is inneed to express himsel/ through +iolence2 ?ne .y Metallica is clearlya.out a ounded soldier in modern ar/are in the Middle East2Metallica had composed that song /or the unsung heroes o/ America –the soldiers ho ris# their li+es .ut still ha+e to li+e ith the memorieso/ death and .loodshed surrounding them2 NEnough (or ;oD .y $he(ray as a.out the mental a.use su5ered .y a mother .y her /ather inthe perspecti+e o/ the motherDs child2 t depicts the sad story o/ her

rejection .y her /ather as he alays anted a son2 n the end thegrand/ather passes aay and the mother o/ the child is 4nally set /reein a orld here she needs no appro+al or recognition2 t also depictsthe sonDs e5orts to com/ort his mother2 Whilst lyrics are +ery emoti+e donDt .elie+e should use lyrics in my arti/act2 $his is .ecause o/ thesu.jecti+e nature o/ lyrics as e+ery person could portray ords in adi5erent ay there/ore s#eing the intended emotions2

"#ills and $echni%ues

n the 4rst to sources read a.out regarding 4nding a good sound /ora guitar hen recording as a.le to use a /e techni%ues that erementioned2 (or instance the 4rst source mentioned the importance o/compression to .e a.le to achie+e a cleaner and more concise soundon the guitar2 $hey also tal#ed a.out the chain /or e5ect pedals




emphasi:ing the importance to set up your noise gate a/ter theo+erdri+e stage in your line2 Another discussed point as that o/ usingdistinctly di5erent tones /or each layer to ensure that the guitar partsdonDt .lend into an o+erhelming all o/ sound2 @oth articles alsoclearly emphasi:ed the importance o/ using a * <direct input= rather

than micing amps up as it gi+es you a clearly and more direct soundithout ris# o/ contaminating the sound ith external noises2 did/ollo this idea as used my Apogee >am hardare direct inter/ace torecord e+ery single guitar sound2 $he second article had most o/ theirten tips mentioned in the pre+ious source2 $he ones that did stand outhoe+er ere the ideas o/ choosing the correct pic# hich hadnDtoccurred to me due to the /act as so accustomed to using the pic# alays use2 $hey also mentioned the importance o/ EL <e%uali:ation=hich as constrained to me as the only real place could manage theEL as on my amp2 $his article too stressed the importance o/ thechain o/ pedals on the pedal .oard2 $his hoe+er did not really change

my existing setup as as already aare o/ the orthodox method andrules o/ e5ect chains2

$he to sources a.out the techni%ue o/ composing music ere a littleless producti+e that o/ the pre+ious to sources mentioned a.o+e2 $hisas due to the /act that a lot o/ hat the 4rst source ritten .y @el#inhad said as already noticed in analy:ing the /amous pieces o/emoti+e music in the musical aspect o/ the discussion2 t as hoe+er+ery eIcient methods o/ comparing aspect o/ music such asprogression structure .alance momentum sta.ility 6o andstoryline2 @el#in had analy:ed each o/ these sections and added

examples o/ ell-#non classical music to sho the ideas2 $he sectionhich /ound most .ene4cial as the section a.out progression as itmentioned the idea o/ #eeping a /amiliar phrase such as a risingmelody or the increase o/ dissonance or consonance to allo listenersto achie+e points o/ re/erence2 $he next source as /ar more relati+e tohat as trying to 4nd2 $he 4rst main point as to limit your choicesto allo yoursel/ an easy ay out o/ a riterDs .loc#2 / a composer hastoo many possi.ilities they ill .e pondering on hich one to use2 $hislimiting process included many di5erent aspects including limitingso/tare using Garage.and to con4ne the possi.ilities could exploreith a more complex recording system such as 9ogic or 7u.ase2 t also

included limiting /orm and rhythmic content hich used largely in myon piece2 decided on using the rondo /orm hich insists that onemain theme is #ept running throughout the piece2 0hythmic limiting/orces a composer to tend aay /rom a regular '' time signature2 $his/orced me to de+iate /rom the o+erused time signature and use , atime signature as not generally used to composing in2

(inal Product - N$he Ma+eric#D

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@e/ore attempting to rite my piece had to decide hat the songas a.out in my perspecti+e to ensure that it as emoti+e to me 4rstand /oremost2 decided that my piece as going to .e a.out thethoughts o/ a ma+eric# .eing unorthodox and independent minded

going against regular .elie/s and ays and that this as the emotion anted to experience hilst hearing my piece in the hope otherpeople ould as ell2 $his as the reasoning /or the title o/ the piece2

Whilst the client .rie/ as to create a piece o/ music that in+o#essadness /elt exploring other di5erent emotions ould .ene4t myo+erall learnings /rom this project2 $here/ore my intent andexpectation as /or people to /eel some emotions a.out anger as ellas sadness and determination2 With choosing a mature audience thisemotion /elt realistic to aim /or as most people ould ha+eexperienced some sense o/ loss2

also decided that as going to try and compose a minimalistic pieceo/ rondo music2 0ondo /orm is hen there is a recurring theme ithinthe piece that is separated .y di5erent sections o/ the piece2 Myintention ith this as dran /rom the /eeling o/ con/usion anduncertainty a ma+eric# minded person might /eel as ell as the/amiliarity thatDs an indication o/ the normal repetiti+e +oices e heare+ery day2 $he sense o/ spontaneity and independence ill hope/ully.e e+o#ed through the unpredicta.ility o/ the song2

used my personal laptop computer to record and store my song2 (or

recording used my >ac#son *ominion guitar ith "eymour *uncan )Hpic#ups processed through a pedal .oard containing ! di5erent guitare5ects pedals2 $hese e5ects ere ah compression distortiono+erdri+e chorus phase delay and a noise gate2 Most o/ these e5ectsere made .y >im *unlop MQ0 one .y Oeeley .ane: and Fox each2 $he signal then exits the pedal .oard into a 9ine "pider F 1) attpractice amp here used a clean signal2 $he signal is then sent outo/ the amp into an Apogee >am and then into the laptop and isrecorded in Garage @and2 ?nce the song as 4nished exported it/rom Garage @and to i$unes here it is made a+aila.le throughso/tcopy as ell as a hardcopy in the /orm o/ a 7*2

"tructure & Analysis

"ntro $he intro .egins ith one guitar playing the main melodic theme heardthroughout the repeated rondo section2 8oe+er it is playing at a +eryso/t tempo <pianissimo= at the .eginning and then proceeds to increase

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to a loud dynamic </orte= during the crescendo2 $he aim o/ the introas to get the main melody into the minds o/ the listeners consideringthat it is repeated much o/ the ay through the entire piece2 used asimple clean tone ith delay and compression and used a mid to highpitch range ensuring that it asnDt shrill2 $his presents a /airly calming

start to the piece2 n this case ent /airly against the intros o/ ElgarWilliams and the other main classical pieces2 $his instead had an intromuch li#e that o/ ?ne .y Metallica or the Moonlight "onata .y@eetho+en hich is +ary tran%uil2 $he o+erall intention /rom thissection is the /eeling o/ peace and tran%uility .ut ith the /eeling o/uncertainty and mystery at the same time implied .y some o/ thediminished tonality such as in "hosta#o+ichDs piece2

Theme A# $he next section as one o/ the to main themes that repeat in thisrondo piece2 t consists o/ only to layers the 4rst time2 $he high

pitched lead guitar plays the melodic phrases in the intro ith a slight+ariation2 9ater in the piece hen theme A1 returns to times there isa third guitar layer that plays a harmony a minor third a.o+e themelody2 also used a regular chord progression .ut instead chose touse chords ith extended harmony to create a di5erent sound2 usedmajor in+ersion chords as ell as minor H K ) chords to create a more6oating am.ient /eeling2 $he melody and harmony parts had o+erdri+eadded to it to add more energy and excitement to this section2 $herhythm part hoe+er only had compression and delay such as in theintro2 $he main aim o/ this theme as to create a sta.le texture andtempo and to create energy and /amiliarity to the listener as this

repeated2 $he idea o/ increasing the li+eliness o/ the piece as /rom.oth the metal pieces cited – .y $esseract and Periphery2

Theme A$ $heme A is +ery similar to theme A1 here the texture dynamicstempo and most o/ the other musical aspects are the same2 $he maindi5erence is the change in the chords as ell as the melody section2 tstill has the same ideas as the melody and rhythm .oth are playedith the same note duration2 $he melody is played at a ascendingpitch hoe+er to attempt to increase the /eelings o/ hope andhappiness ithin the audience2 @oth A1 and A had the contrast o/ alegato rhythm section ith a palm muted melody section the ideata#en /rom the N*uel o/ the (atesD here the choir sings long legatonotes and the +iolins play high pitched phrases creating excitementand energy in the 4ght scene2

%ariation #

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$he aim o/ the 4rst +ariation as to present something +ery similar tothe 4rst to themes2 $he chord progression is similar ith the use o/sus! chords alloing the tonality to .e depicted .y the melody guitar2 used leaps in the melody here the 4rst inter+al .eing a th to createthe sense o/ a heroic 4gure2 $his is also hy used pinch harmonics on

the guitar creating a sense o/ the guitar screaming creating a +ocalsound2 $he idea o/ the melody as ta#en /rom "chindlerDs 9ist .uthoe+er /eel this as the least emoti+e o/ the entire piece2

%ariation $ $his +ariation .elie+e had the most emoti+e %uality due to the /actthat all ' di5erent layers o/ guitar are contrasting each other2 $herhythm guitar has a clean tone ith delay and a ah hich gi+es itthe 6uctuating %uality creating an extremely con/using and a#ard.ase to the section2 ?ne o/ the lead guitars is playing a +ery high-pitched tapping section ith a high le+el o/ distortion as ell as phase

and chorus creating the shrie#ing e5ect in the .ac#ground2 $he thirdguitar plays to +ery simple poer chords using the root and thedominant to add to the thic# texture and to create a sense o/ e+enmore chaos2 $he 4nal guitar is playing a series o/ pitch .ends gettinghigher as the section goes on creating a sense o/ crying and despairshouting out /or help2 $his is topped o5 .y the lead up into this sectionas it is +ery sudden and a.rupt aiming to distur. the audience2 $hissection inspired .y Penderec#iDs $hrenody as meant to in+o#e the/eelings o/ pain and anger to some extent2

%ariation & $his +ariation starts ith a .ar interlude that gi+es the listener a hinto/ the main melody hich uses leaps again citing the ElgarDs 7ello7oncerto2 $he main section also /eatures +ery hea+y chords along iththe melody section hich is se%uenced .oth upard and donardsagain creating the /eeling o/ progression and determination2 $herhythm section 4lls in the gaps le/t .y the melody section almost in anattempted contrapuntal sense2 $he aggressi+e nature o/ the rhythmguitar as ell as the leaps in the solo guitar creates the sense o/ angerpassion and purpose2 $he rhythm guitar also has a sense o/spontaneity to it as the accents on the guitar are /airly random and isnot a generally used rhythm2

'eturned Theme?n the last time the theme appears made a /e changes in thetim.re to gi+e it a di5erent /eeling hilst #eeping the /amiliarity2 $hemelody and harmony parts are played ithout the o+erdri+e to .ringdon the le+el o/ energy and to start toards an ending section o/ thepiece2 $his .egins to .ring .ac# the sense o/ tran%uility in the

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.eginning o/ the piece2 also decreased the dynamic to a /airly so/tle+el once again to decrease the excitement almost in a sense thatthe ma+eric# .egins to calm don as ell a/ter the con/usion andanger heDs /elt2

(utro $he outro has a +ery di5erent /eel to the rest o/ the piece and is muchli#e the intro .ut hoe+er uses di5erent chords much more dissonantchords to create the sense o/ dou.t and dissatis/action a ma+eric#might /eel2 $he 4nal chord is an in+erted major se+enth chord ith anadded dissonant note and the end to create the tension or uncertaintyintended2

*e+elopment o/ the (inal Product

$he idea o/ the actual piece changed in my head a num.er o/ times2@rainstorming ideas o/ hat should compose and ho changed+arious times2 At 4rst intended to compose my ensem.le piece on"i.elius using instruments such as +iolins saxophones and otheroodinds to create a di5erent type o/ tim.re and /eel2 As itprogressed also anted to add piano to the piece due to its largerange and my /amiliarity ith the instrument2 $he other instrumentsmentioned a.o+e ould ha+e .een slightly more diIcult to compose/or as ha+e ne+er played them .e/ore2 t ould ha+e also neededmany di5erent musicians to learn and record the separate parts2 $his is

hy .e/ore .egan riting my arti/act changed the main idea toonly incorporate guitars2 $his alloed me more /reedom to rite hat needed as #no the instrument inside and out2 t also made it easier/or me to complete the arti/act in time as didnDt need to .urden othermusicians ith learning di5erent parts2 Whilst ma#ing it easier it alsomade the challenge o/ creating an emoti+e piece e+en more diIcult as as only using a single instrument and that guitar is generallystereotyped to .e a less emoti+e instrument as opposed to aninstrument li#e a piano or a +iolin2

?nce decided that ould use di5erent layers o/ guitars /or my

arti/act had to decide exactly hat type o/ emotion intended toin+o#e on to the audience2 My original title as to create a piece o/ensem.le music e+o#ing an emotion o/ sadness ithin a matureaudience2 ?nce rethin#ing this hoe+er decided that it as a littletoo con4ned due to the /act that had analy:ed 13 pieces o/ emoti+emusic in hich none o/ them could solely .e summari:ed as NsadD2 ?neo/ the main things had learnt /rom those pieces is the /act that eacho/ them e+o#es di5erent emotions ithin the piece hich as

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identi4a.le2 "imply con4ning my on project to attempt to in+o#esolely sadness ould ha+e asted a lot o/ the other 4ndings /rom thediscussion section2

then had to choose the type o/ piece as going to rite in terms o/

/orm structure and the main idea .ehind the piece2 nitially as goingto compose a piece that in+o#ed a sense o/ loss in terms o/ either adeath or the dissolution o/ a relationship2 8oe+er /elt this ouldha+e .een too simple and the emotions ould ha+e .een constrainedto sadness and anger2 ;ext intended to rite a piece o/ .ac#groundmusic to a 4lm that depicts sadness and sorro a/ter a ar thedesolation and peace together as one2 $his seemed li#e a /antasticidea /or a signi4cantly long period o/ time until the idea o/ thema+eric# came to mind2 n this instance ould .e a.le to explore ahole range o/ emotions that someone claimed a ma+eric# might /eelsuch as rage desperation determination sadness guilt inspiration

and passion2 $his as ho the main idea o/ the ma+eric# .eing themain idea /or my arti/act came to .e2

$he /orm as less diIcult to select2 #ne /rom the start that didnDtant to ha+e a /orm li#e a pop song ith +erses choruses and .ridgesneither did ant to rite a piece o/ music ith an o+ercomplicatedstructure2 $here/ore the idea o/ a rondo made a lot o/ sense to me dueto the /act that had license to continuously create ne themes hilststill ha+ing a structure and theme that could relate to2

Another /actor that changed hilst planning the piece as tempo and

time signature2 nitially intended to use a '' time signature as mostpeople ould .e a.le to relate to it more2 8oe+er a/ter trying out a/e di5erent ri5s and chord progressions in the time signature decided that the highly used time signature ga+e it a /eel too /amiliar2 there/ore anted to try out a separate time signature that as a.stract.ut still easy enough that could compose easily in it2 My method o/thought as to ta#e '' to .e 1, hich are .oth +ery similar exceptthat 1, is counted li#e '' .ut in triplet %ua+ers2 $here/ore decidedon the 1, signature .ut a/ter a hile decided to change it , to 4tmy phrase lengths2 also intended to change the tempo in terms o/.eats per minute throughout the piece to gi+e it di5erent /eels2

8oe+er then decided to #eep it the same and alter the duration o/notes to create the idea o/ an increasing and decreasing tempoithout actually o+ercomplicating it2 $he main pro.lem ith changingthe tempo in the middle o/ the piece as the /act that Garage.andcouldnDt accommodate this2

$here ere many sections o/ the piece that altered throughout therecording process2 Many sections actually ere +ery much trial and

3




error2 ?nce had /ound a rhythm part that li#ed the other guitarlayers on top ere all recorded and compared to the chordal rhythmsection2 $he ones that 4t ere #ept .ut many o/ the ones that didnDt.elong ere added in di5erent sections2 (or instance had 4rst usedthe melody in +ariation 1 as part o/ the theme2 $his hoe+er /elt

complicated the theme and decided the melodic line ould .e a goodplace to start in the 4rst +ariation2 $hat ay could #eep hat hadritten and li#ed hilst using it taste/ully in a section that mademusical sense2

Another main edit made toards the end o/ my 4rst dra/t as theaddition o/ the outro and entire ending section2 initially had le/t theending ith simply the reiteration o/ the theme2 8oe+er /elt thatthis lac#ed a good meaning/ul ending section2 there/ore decided toadd a section hich stripped the theme o/ any e5ects and o+erdri+eand to play it clean ith delay to .ring it .ac# to the .are minimum

creating the hum.le /eeling2 $here ere other sections changed suchas these especially the return o/ the theme2 n order to not ma#e itsound o+erused and dull decided to split the theme into to sections– A1 and A2 $his ould allo me to alternate .eteen the tosections e+erytime the theme returned2 t had initially .een therepetition o/ .oth A1 and A hich ga+e it a long dran out /eelma#ing the o+erall piece too long and repetiti+e2

?ne o/ the largest alterations to the project made as the re-recording o/ the main lo .assier trac#2 ?nce had /ound sourcesa.out the s#ills needed /or my project such as recording decided that

some section o/ hat had already recorded had .een done incorrectly2And the main thing that caught my attention as the main rhythmchordal trac# that had 4rst trac#ed as my .asis2 "ome parts o/ it /eltas i/ it had too much .ass in the sound and that the o+erall sound astoo mushy and croded2 there/ore recorded certain sections o/ itagain using a di5erent e%uali:ation on my ampli4er turning the tre.lehigher and the .ass loer2 also slightly altered a /e choices on mycompressor and guitar2 ?n my compressor increased attac# andloered sustain +ery slightly hilst on my guitar increased the tone#no. slightly to gi+e it a more /ull and ider sound2

A/ter exploring the other ne sources mentioned .e/ore there ere%uite a /e num.er o/ things that anted to change2 Many o/ itincluded anting to record some lead sections again using di5erentsetups on my pedal selections as ell as adding to the noise gate useto reduce the hiss and impro+e the sound2 /elt hoe+er that this as+ery diIcult considering that cutting out sections and recording onlyparts ill create a cropped /eeling to the piece one that ould .eheard .y listeners2 t ould gi+e the piece an o+erall cut and a.rupt

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/eeling hich is the exact opposite o/ the gentle 6o the piece isintended to possess2 ?ne option as considering toards the end asto record the entire arti/act again .ut didnDt due to time constraints2

n+estigation & $a.le o/ 0esults

$hese are the %uestions as#ed , di5erent people ho ha+e di5erentmusic .ac#grounds2 $he main idea as to 4rst as# a.out the emotionsthey /elt hat made the emotions and then to tell them the real idea.ehind the song to see i/ it changed any perspecti+e2 as also hopingthat they ould pic# up on some o/ the main musical aspects during%uestion 32

12 n your opinion as that piece emoti+e in any ayR2 What main type<s= o/ emotion do you thin# the piece in+o#edR32 What do you thin# made that piece o/ music emoti+eR'2 What do you thin# the piece as a.outR)2 *o you thin# the piece ould ha+e .een more emoti+e i/ the

instrumentation as di5erent <i2e2 an addition to only guitars=

3'




2 *o you thin# the emotions /elt ould change i/ it ere played li+einstead o/ an mp3 recordingR

H2 $here ere di5erent sections during that piece did any o/ thosesections create a di5erent emotionR

,2 $his piece as a.out a ma+eric# a person ho is unorthodox

and thin#s independently against usual .elie/s2 *oes this ma#e itmore emoti+e /or youR

as#ed se+en di5erent people at di5erent times2 (i+e people ereteachers /rom school and to are /rom my household2 E+erytime therecording as played /or a su.ject it as through my laptop computerthat .rought along2 "ome listened through headphones hilst othersplayed it out loud2

ChristopherSmith

Andrew,ui

$ichardaulkner

/arkStewart

AnitaCollins

,ananathanPathmanathan

0ala0rishnamooh+

8igh "chool Music $eacher

8igh"choolMusic

$eacher

8igh"choolEconomics

$eacher

8igh"choolEconomics

$eacher

8igh"choolMath

$eacher

Practicing9ayer

0etired 9aye8omema#er

' es es es es ;o es es

2 Mainly positi+ecommunity in theguitars as ell ascomplexity2

(airly sad2 0acingrushingith/earthenrelaxing2

@eginning isintenserelaxedat theend2

;one *espair andhope2

8ope/ul andupli/ting hils.eing su.tle2

3)




Angry atparts2

7ontrast o/ guitarsounds and tonesrepetiti+e ri5s2

$he tempo @uildsmanyinstruments and.uilds in+olume2

Angrypartsere/romharshsounds2Pitch2

;one Bnderlyingthemethroughoutand otherideaschallengingtheme2

$he one part omusic that plaregularly2

" *i5erent +oicesexpressingcomplexedopinions27onsidering otherpeopleDs opinionse+ery +oice has aplace incommunity2

"omeonesitting outlonely inthedar#ness2

Escapeto sa/ety2

Anarguingpersonho gotangryand thenasrelaxedat theend2

"oundtrac# o/amo+ie2@ac#groundmusic2

"omeoneDsli/e ho /eelsthe need tochange theconstant init2

$riumph anddiIculties thacome ith it2

) Possi.ly +iolinsand pianos arenaturally emoti+ehereas guitarsneed to .e playedith emotion2

;ot reallydictated.y thetim.re andtempo2

8ard totell toomanypossi.ilities

Addinge+enmoreemotion2

esde4nitely

;o es certaininstruments a+ery stirring2

% 9i+e recordings.ring .etter senseo/ connection2

;otparticularly

es es ngeneral

es es

1 Mainly the ending

ith the clashingnotes complexedunsettled anddissonancechords2

Main

su.ject isthemelodycatchesattention2

$he

openingascalm/olloed.y /earand thenplateauing at theend2

$he end

and theangrierparts2

Excite

menthereit asloud asell astension

?ther

sectionschallengedthemecon6ict o/emotions

es some er

mello someere hope/ul2

- More relata.le2More #noledgeallos connecting

more deeply2

$oosu.duedto .e a

ma+eric#2

;o ;o .utma#es a.it more

sense

;o ;o es

$he results /rom the in+estigation in total ere /airly success/ul2 Mostresponses to the 4rst %uestion ere +ery positi+e o/ H saying that itas an o+erall emoti+e piece2 $he one anomaly to that %uestion saidthat this style o/ music simply isnDt emoti+e in general once againhinting at the su.jecti+ity o/ this topic2 $he second %uestion asansered ith a large +ariety o/ responses2 $hree people ansered the

3




piece to .e /airly positi+e saying the o+erall emotions exuded erehope and community2 $here ere to responses to .e piece .einglin#ed to despair and sadness2 ?ne su.ject said that it /elt li#e a raceand one said it as an o+erall /eeling o/ tension leading into anger2

$he third %uestion also had a +aried anser2 @oth the music teachersand anyone ho had a decent musical .ac#ground ere generally a.leto gi+e responses in relation to the musical aspects that had tal#eda.out2 "ome tal#ed a.out the contrast in tim.re and to said thetempo2 "ome dre to the continuous theme throughout the piece andone other person dre to the harder and so/ter sounds2

$here ere di5erent responses to hat the piece as a.out as it as+ery su.jecti+e2 $o people hoe+er came +ery close to .eing hatthe piece o/ music as a.out2 $he 4rst su.ject tal#ed a.out distinct+oices arguing gi+ing a sense o/ community and citi:enship hilst

the sixth su.ject tal#ed a.out constant in someoneDs li/e and the needto change the constant2 $his can .e related to the ma+eric# due tounusual ideas a ma+eric# might ha+e and their desire to change orchallenge the norm2 Many o/ the other responses made a lot sense intheir on ay2

@oth %uestions ) and ere ansered di5erently hoe+er mostpeople /elt that di5erent instrumentation ould ha+e .ene4ted theemotions o/ the piece as ell as the idea that it .eing per/ormed li+eould ha+e .een more appealing2 $hese might not ha+e .een the .est%uestions as it is +ery conditional on the pre/erences o/ the listener i2e2

the +iolin might .e emoti+e to one person hereas not to another2

Luestion se+en as generally as#ed in the second %uestion .ut topeople pic#ed up on the section that in+o#ed anger and most peoplenoticed the tran%uility and calmness .rought in the outro especially2 $he 4nal %uestion as ansered +ery di5erently as most peoplerelated to the piece more once they #ne hat it as a.out2 8oe+er .elie+e this as the most success/ul part o/ the piece .ecause ingeneral it didnDt change their meaning to the piece2 $his is the aim o/a.stract music such as this as e+eryone portrays the emotionsdi5erently2

Conclusion

3H




.elie+e that o+erall my piece o/ music as /airly success/ul2 $his asaided mainly .y the sources – .oth ritten sources and the analy:edpieces tal#ed a.out in the literature re+ie and the discussion2

What .elie+ed in the .eginning o/ this project – .eing the /act thatmusical techni%ues and compositional de+ices largely depict theemotions that e hear through music is true2 Whilst ha+e not .eena.le to test that accurately the /act that the piece as /airly emoti+eto out o/ H people suggests that ideas such as a changing dynamics.uilding tension through tim.re and tempo all ha+e a direct e5ect onthe listener2 Whilst the main emotions heard .y the , di5erent listeners+aried many o/ the sections .esides the theme ere impliedsuccess/ully2 $he angrier section during the end hich used poerchords as depicted as angry .y a /e due to the lo pitches andstaccato ri5s hereas the ending section as also ta#en to .e su.tle

calming .ecause o/ the so/t dynamic the thinner texture and thelegato phrases2

Whilst didnDt explore any main theories in any o/ the dissertations inmy 4rst 1C sources the idea o/ similar techni%ues .eing used in/amous emoti+e pieces ere true2 $he most relati+e theory .egan toexplore as the idea o/ cogniti+ist and emoti+ist theories .y @enBshedo2 Whilst .oth stories relate ell and ma#e sense .elie+e theemoti+ist theory to .e slightly more relati+e2 t states that music is.oth a cause and an e5ect o/ a sentiment2 n an emoti+ist mind musiccan also cause a physical emotion such as head .anging hen

listening to metal or to .e crying during a sad piece or simply e+entapping your /oot hen listening to a catchy song2 $he cogniti+isttheory certainly made a lot o/ sense to me until the results /rom thein+estigation2 7ogniti+ists reduce music to .e mo+ing ithout ha+ingother di5erent emotions2 $his theory hoe+er as pro+ed untrue.ecause o/ the results the emotions depicted .eing so di5erent andsu.jecti+e2

3,




(valuation

?nce again .elie+e that my arti/act as success/ul due to the /actthat most o/ the test su.jects /ound it emoti+e hence .eing concludedas an o+erall emoti+e piece o/ music2 8oe+er there ere manypro.lems along the ay and places in hich had to change certainlarge parts o/ my extended project2

$he main pro.lem encountered during my project as ma#ingalterations to the title2 My original title as N$o create a piece o/ensem.le music that in+o#es an emotion o/ sadness through the use o/ compositional de+ices and musical techni%ues2D A/ter analy:ing thesources hoe+er and .e/ore attempting to rite my arti/act decidedto rite the entire piece o/ the guitar using layers and e5ects to createemotion2 did this /or three reasons – one .eing the /act that am aguitar player and learning and experimenting ith these compositionalde+ices and musical techni%ues ould ma#e me more +ersed on theguitar and to /urther to impro+e my s#ills2 $he second reason assimply due to logistics as creating a piece o/ ensem.le music ithpiano strings .rass and percussion ould ha+e .een +ery unrealistic2 ould ha+e had to 4nd di5erent musicians to help me record thishich ould ha+e .een diIcult to 4nd2 $he third reason as simply.ecause #no the guitar .etter than any other instrument meaningthat the le+el o/ %uality ould .e higher through composing e+erything

on guitars2$his then there/ore caused my title to change to N$o create apiece o/ ensem.le music that in+o#es an emotion o/ sadness throughthe use o/ compositional de+ices and musical techni%ues on the maininstrument guitar2D

also decided to then change the main emotions ished to e+o#e.e/ore riting my piece2 /elt a/ter analy:ing thirteen di5erent emoti+emusical pieces that containing my piece to solely the emotion o/sadness ouldnDt maximi:e the other emotions heard during myresearch2 also .elie+ed opening up my piece to other emotionsalloed more musical techni%ues and compositional de+ices to .e

used2 there/ore changed .y title again to N$o create a piece o/ensem.le music that in+o#es +arious emotions through the use o/compositional de+ices and musical techni%ues on the main instrumentguitar2D

also .elie+e that my project could ha+e .ene4ted more i/ hadenough time to properly read some o/ the long dissertations in depth2 $here ould ha+e .een a lot o/ use/ul in/ormation there i/ it as /ound2

3!




$he last main section should ha+e or#ed .etter on as timemanagement lea+ing the last /e sections o/ the project /airly rushedspending too much time on the literature re+ie and introduction2?+erall also spent too much time on the project <exceeding the ideal

,C hours= getting carried aay ith 4nding sources and the musicanalysis2

*ibliograph+

&. Feiles, Nathan. "How Music Impacts, Helps Our Emotions | World of

Pscholo!." Psych Central.com. N.p., # $une %&. We'. %( Oct. %&).. *han!i+i, Mar. "Wh -oes Music Mae s Feel/0 1cientific 2merican." Why

Does Music Make Us Feel?: Scientific American. 3ensselaer Poltechnic

Institute, &4 1ept. %%5. We'. %( Oct. %&).

). shedo, 6en. "Music 7 Emotion." Philosophy No. N.p., 1ept.8Oct. %&). We'.%( Oct. %&).

>. 1tewart, Helen. "How -o Film8maers Manipulate Our Emotions with Music/"

!!C Nes. 66*, &) 1ept. %&). We'. %( Oct. %&).4. 1ancristoforo, 9ior!io. "Main! Music from Emotions in 3ealtime." Wire" U# .

N.p., %4 Oct. %&). We'. %( Oct. %&).

#. 1chu'art, *hristian. "Emotions of the Musical :es." $ra"free.com. ;rans. 3ita1te'lin. Ed. :e<in =essmann. N.p., %%>. We'. %( Oct. %&).

(. Willime, 6ernd, and -aniela Willime. "Music and Emotion." -iss. ;rans. =aura

3ussell. 3esearch on the ;heor of Music E?uili'ration, %&&. Music an"

%motion. Willime Music, %&&. We'. %( Oct. %&).

C. @in, 2nnemie. "Music and Emotion." Nor"ic &ournal of Music 'herapy &%.A%%#B0 &>>84C. Music an" %motion. National 1cience Foundation, &% $ul %%5.

We'. %> No<. %&).5. 1hurin, $oel N. "3esearch 3e<eals the 6iochemical *onnection 'etween Music

and Emotion." (esearch (e)eals the !iochemical Connection *eteen Music an"

%motion. Inside 1cience News 1er<ice, &5 $an. %&&. We'. %> No<. %&).&%. Pereira, *arlos 1il<a, $oao ;eiDeira, Patricia Fi!ueiredo, $oao a<ier, 1ao =uis

*astro, and El<ira 6rattico. "Music and Emotions in the 6rain0 Familiarit

Matters." -iss. Ed. $a Pillai. $ohn Hopins 1chool of Medicine, 12, %&&.2'stract. P+,S ,N% . $ohn Hopins 1chool of Medicine, 12, &# No<. %&&&.

We'. &C $an. %&>.

&&. Edward El!ar, *ello *oncerto in E Minor Op.C4G, $ul &5&5,

http0www.outu'e.comwatch/<OH%JK;**KI, &. $ohn Williams, ;heme from 1chindlerLs =istG, &55&8&55),

http0www.outu'e.comwatch/<i'$$9pPM2,

&). $ohn Williams, -uel of the FatesG, Octo'er &55C 8 Fe'ruar &555,http0www.outu'e.comwatch/<$&!HcJd'#%,

&>. Fran Martin, Mass for -ou'le *hoirG, &58&5#,

http0www.outu'e.comwatch/<armH2s2O1w,

'C
















&4. 1er!ei 3achmaninoff, Piano *oncerto No. in * Minor Op.&CG, &5%% 8 $ul

&5%&, http0www.outu'e.comwatch/<DCl)(utDMK,

&#. =udwi! <an 6eetho<en, Piano 1onata No.&> in * Minor Op.( No.G, &C%&,http0www.outu'e.comwatch/<fod%i;&e5oE,

&(. -mitri 1hostao<ich, 1mphon No.4 in - Minor Op.>(G, 2pril &5)( 8 $ul

&5)(, http0www.outu'e.comwatch/<;?s(tKW>C7featurep,&C. 2cle :ahne, 2mos Williams, ;esseract, Of MindG,%&,

http0www.outu'e.comwatch/<@;pJ;!!HhM,

&5. Misha Mansoor, 1pencer 1otelo, Peripher, 3a!naroG, %&,http0www.outu'e.comwatch/<3HF@t!s*+I

20. -ue Ellin!ton, Mood Indi!oG, &5)&,

http0www.outu'e.comwatch/<9oh6HaHapC21. $ames Hetfield, =ars lrich, Metallica, OneG, &5CC8&5C5,

http0www.outu'e.comwatch/<sPmIwwo'2

22. Isaac 1lade, $oe :in!, ;he Fra, Enou!h For NowG, %%5,

http0www.outu'e.comwatch/<aJH#hCN$dw

23. :r+s+tof Pendereci, ;hrenod to the @ictims of HiroshimaG, &5#%,http0www.outu'e.comwatch/<-p)6lFW$N2

>. White, Paul, and -a<id =ocwood. "% ;ips On 3ecordin! 9uitars."

- 'ips ,n (ecor"in/ $uitars. 1ound on 1ound, 2u!. &55C. We'. %( Oct. %&>.4. O*onnor, 1hane. "3ecordin! Electric 9uitars0 1ecrets of the Pros." Delicious

Au"io. N.p., ) No<. %&. We'. %( Oct. %&>.26. Belkin, Alan. "Review: Nuts & Bolts: A Practical Guide to Teaching College

Composition." College Composition and Communication 45.2 (1994): n. pag.

Dolmetsch.com. Web. 07 Oct. 2014.

27. Latta, West. "Using Ambient Techniques For Composing - Tuts+ Music & Audio

Tutorial." Music & Audio Tuts+. N.p., 20 Jan. 2010. Web. 07 Oct. 2014.

'1















,lossar+

/usical Terms &enitionsAccidentals A sym.ol that denotes a small

change in pitch o/ a note2 (latssharps and naturals2

7hromatic A scale that consists o/ all 1notes in Western music2 8ints atincreased tension anddissonance2

7oncerto A piece o/ instrumental musicthat /eatures a main instrumentin contrast ith that o/ theorchestra2

7ontrapuntal Bsing to or more melodic linesthe second one .eing descri.edas counterpoint to the 4rst2

*iminuendo A decrease in loudness ortension much used in the endingsections2

*ynamics $he le+els o/ sound ithin apiece o/ music ho loud or so/t2

Ensem.le A group o/ per/ormers2

8armony $he sounding o/ to or morenotes simultaneously2 Also usedto descri.e chords2

nter+al $he distance .eteen to notes

counted /rom the .ottom noteupards2

Oey $he particular scale in hich thepiece is ritten in indicatingtonality2

9egato A phrase played in a smooth6oing manner ithout .rea#s.eteen notes2

'




Mo+ement "ection o/ an extended piece o/music that it complete in itsel/2

?cta+e nter+al o/ an eighth – 7 to 7 or *to *

?stinato A part o/ music that repeats a

particular melodic phrase orrhythm2

Pi::icato A direction to string instrumentplayers to pluc# their strings asopposed to .oing them2

0ondo $he /orm in hich a recurrenttheme is used in .eteen +ariousepisodes2

"e%uence $he immediate restatement o/ amelodic moti/ at a higher orloer pitch2

"taccato A phrase played detached ith a.ouncy /eeling2

$empo $he speed a piece o/ music isplayed at2

$exture $he ay the melodic rhythmicand harmonic materials arecom.ined in a composition2

$heme A complete tune or melody thatis /undamental in the piece2

$im.re $he distincti+e sound eachindi+idual instrument posses2

$riplet A series o/ 3 notes that areplayed in the timing o/ 2

arjun gananathan's extended project

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