Siebert Tenseven (a nom de plume) was a recent winner on Blend for the IMBAS Music One Hour Challenge. The idea was to use samples supplied by IMBAS and, in one hour or less, create an interesting composition between 1 minute and 1:30 in length. There were five winners chosen and they were used in a mash-up later on.
The benefits of entering a competition, let alone winning, are myriad. In December of last year, I was invited to submit a soundtrack for a rather strange animated short film with no title. It was a good way to develop additional scoring techniques, so I went ahead and gave it a try.
Recently, I completed a course called Introduction to Ableton Live taught by Erin Barra and offered at no cost by the massive open online course (MOOC) provider, Coursera. I wasn’t sure what to expect of the course because I had no familiarity with Ableton and assumed it was just another sequencer program. Boy, was I wrong.
I just found out that reverberation is the collection of reflected sounds from the surfaces in an enclosure. It is a desirable property of auditoriums to the extent that it helps to overcome the inverse square law dropoff of sound intensity in the enclosure. Having used reverberation in most of my work, I had to ask myself what is this inverse square law dropoff? Is it really square? Is it a true law, and does it really drop off?
Music scores are a late development in the history of printing. It was 20 years after Gutenberg’s invention of the printing press that the first printed notation was created. As royalty supported music and composers for their own enjoyment and entertainment, the use of printed music was something that was usually suppressed. Most of the scores of written music prior to the 20th century were handwritten by the composer, along with each of the individual parts.