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Rosie Louise Mountjoy

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MD5319 – SM2 – Music for networks and communities – T5 – Collaborative Software

Collaborate with others to create a short composition experiment (3-5 mins) utilising concepts/tools discussed in the collaborative software session.

Ophelia and I decided to work together to create a composition using voice notes on iMessage as our piece of collaborative software. We utilised the voice notes section and sent each other sounds made with our voices. You are able to save these voice notes and they save into the voice memos section on your phone; we took these out of voice memos and brought them into logic to create a track.

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We created the track by using one note as a rhythmic beat just as a base and then chopped up another to layer this rhythm section. The other notes were then chopped up and dragged to different points which ended in us creating a short composition.

The only issue with using voice notes is that it wouldn’t work as a live performance so could only be done how we did and just explaining it as an idea and then showing what we did in a live setting.

Voice note sending is a really feasible thing to be able to do for many people so this could potentially work in a bigger group setting and be able to create not only more abstract compositions but it might be an idea to cover a song?

Our song –

Screenshot 2018-05-24 17.39.31https://soundcloud.com/ophelia-neville/sm2-task-5-md5319-1/s-Ycz7D

 

 

 

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MD5319 – SM2 – Music for networks and communities – T4 – Conceptual/Environmental stimuli

For this task we had to do a sound walk and then produce something creative using the sounds that we heard. Ophelia and I decided that we were going to create a piece of art inspired from our sound walk on the train. We both travel on trains a lot so thought it would be the perfect place to draw attention to what we can really hear when travelling.

My sound map –

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Ophelia’s sound map-

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After both completing our sound maps we brought our ideas together and created an abstract piece of art, the shapes and colours being inspired from the sounds.

Creating it….

Straight away we both decided we would use ‘moody’ colours as our base as train journeys for both of us don’t play the most uplifting part in our lives. We used black and a dark green as the base shades and then used primary colours to represent the different sounds.

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We started with the black base, this represented the most prominent moody sounds of the train itself. We subtly blended the green into black to represent the varying pitch and tone of the sounds. As our painting is an abstract score, we wanted the black shapes to be random and the most obvious shapes across the canvas as this is how we interpreted the sounds in the first place.

There were other sounds made by the body of the train for example, the frequent sound of the train going over the tracks. We represented this with the red spikes of paint across the bottom of the canvas and smudging parts to show how the sound started to seep into other sounds in the background.

The blue squiggles represent the shuffling of people in their seats and also when you really relax and focus on listening to sounds you can hear the slight movement of your body against your clothes, in my case it was my denim jacket.

The white dashes running through the centre of the canvas represents the ongoing, underlying hum of the escaping air in the carriages. The clusters on there own represent the air escape when the doors are opened. We felt that the white visually worked well for this sound as this was the closest colour to being transparent which is what air is. The white also fades in and out on the white based canvas.

The yellow triangles were to represent the sharp, high pitched squeaks and beeps which happened when doors were opening or randomly throughout the journey.

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This is what we created…

Processed with VSCO with p5 preset

 

Below are some abstract score’s which inspired us to go down this route:

Artist: Fumi Nambata

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MD5311 – Audience and Market Research

Finding my initial audience and market…

I started with finding artists/bands that my music is similar to and then looking into these by searching through, websites, socials medias and news articles. Through these searches I gathered information on how they started their careers, who’s they follow and tend to speak with on social media, and basically stalking them to find other people who could help me pursue my career in this business

My genre I would say is chilled electronic indie/pop.

I started with London Grammar –

-After finding each other at university they moved to london to pursue career

-Started gigging in local bars and pubs (Had a manager to promote these)

-A+R started to noticed and they got signed by Ministry of Sound

YOUTUBE video they posted in 2012 created the attention they much needed/wanted

-EP made available on spotify in 2013

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London Grammar used Youtube as an outlet for their music, I think when trying to catch attention for your music releasing a video to go with it would be the best option when trying to make it go ‘viral’. People share videos on Facebook, instagram and twitter more than writing with a link as the video can automatically play when you scroll past.

***** Releasing my content on youtube and then using social medias to share would be the best way for me to draw attention. *****

Manager and Promoter 

When first they first stating gigging in London they had a manger who would promote and find them gigs, his name being Conor wheeler. Maybe an idea to contact him for direction or even when I’m ready for a potential manager?

Screen Shot 2018-05-15 at 15.05.38Screen Shot 2018-05-15 at 15.05.32

 

Twitter 

I trawled through London Grammars twitter follow page and picked up on a few people that would be worth following and just even having my name pop up in there following could spark something,

Annie Mac (Radio 1 DJ)

BBC Introducing

Ray Kerr (Producer)

Rachel Coomber (BBC introducing Editor)

Monki (DJ)

Even getting your name known to some DJs might spark some interest in them sampling or remixing your song.

Link to their twitter page – https://twitter.com/search?q=london%20grammar&src=tyah

Ministry of Sound

  • Ministry of sound are who signed London Grammar after spotting them in a local london bar.

https://www.ministryofsound.com/record-label/

http://www.mospublishing.com/about/

 

***********

Gabrielle Aplin 

  • Singer songwriter
  • Youtube – became know after posting covers
  • A+R saw her through youtube and signed her with parlyphone
  • John lewis ad – Main streamed her

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This use of youtube being a platform and being noticed from it, solidifies the idea of me using it as my platform for my music.

 

 

 

 

 

 

 

 

 

MD5311 – Audience and Market research – Blogs

Through using the blog feedspot, it allowed me to home in on some blogs that could potentially involve my music.

http://www.stampthewax.com/author/rosie-cain/

Stamp the wax blog offers posts about a huge range of genres so I searched around and found that an author called Rosie Cain writes about genres that are linked/associated with the music I create. Therefore getting in touch with her, and making her aware of my music may be a good shot at getting featured on the blog.

 

https://www.thelineofbestfit.com

https://www.thelineofbestfit.com/search/results/79147481f31b07a6de3eb987f5d717bc/

This blog features London Grammar a lot through out the years, suggesting they share music a like.

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https://lucymccourt.com/about-me/

This blog is the true sense of an independent blog, a girl who started writing for fun and then its ended up like this…

Theres a link to submit music directly to her, with the page not being mega huge its a great opportunity to be noticed on this small platform. Its good to get your name mentioned on small platforms just as much as big.

She is also setting up a magazine.. another place to be promoted.

Screen Shot 2018-05-16 at 23.43.49Screen Shot 2018-05-16 at 23.44.54

 

 

 

 

MD5319 – SM2 – Music for networks and communities – T3 – Using social media to generate ideas

For this set task we decided to explore how we can utilise snapchat to generate something musical. We explored the ideas of using effects on the app such as slo motion, fast forward, rewind and pre made filters with voice changers, snapchat stories and geo filters.

We went onto exploring how we could use geo filters to create a piece of music. A Geo-filters can be created for a location or an event, if this filter is then used it will automatically go to a story that collates all these snapchats together which can then be played through.

Our idea is to get the participants to record a short snippet of themselves creating music in whichever way they so wish and add this geo-filter. This snap will then go into the selected geo- filter story along with all other snaps with this same filter. This will then create a audio and visual slideshow that you can click through or will just run through automatically.

The fun behind this is that as it being through social media, anyone anywhere who tag with this geo filter can add what they want to the story, this meaning that it will be unpredictable, you don’t know who’s snap yours will come before or after. This will encourage freedom and creativity, there is no wrong or right thing to send, its just to get people involved with creating a piece of music, wether it turn out awful or it could be amazing!

We would create a ‘community filter’ if we wanted it for a specific location.

Or we would create a ‘Filter’ to have it as an event that you add it too.

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MD5319 – SM2 – Music for networks and communities – T2 – Engaging an Audience

Create a system that allows engagement between performers and audience, or for even musical ideas to be generated by the audience.

Ophelia and I decided on the idea of having 8 squares on the floor in the high street and having 8 musicians each designated to a square; when a member of the public steps on one of these squares the musician who is assigned this square will play. This idea allows the public to have creativity and fun, they decide where they want to step and therefore decide who gets to play. Each square will also be a different colour so it is clear who’s square is who.

This idea also creates a piece that will be different each time and any member of the public no matter what age can join in, theres also opportunity for more than one person to be actively ‘playing’ at a time so it also introduces team work.

The idea can be taken anywhere it isn’t strictly set to the hughstreet, I feel like this could work in schools, an any public place really. Its an idea that can be adapted in ways to fit around the people to play, an example of this would be to have squares that are big in size so that someone in a wheelchair would be able to fit on perfectly and not overlap other squares at the same time.

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The thin lines at the top are to represent the people, they have all been assigned a colour corresponding to the big squares.

Each person (thin line) plays an instrument, so they play their instrument when someone stands on their colour square.

Simon SM2 task 2 diagram

Even with having colours we spoke about how the colours won’t have an impact for the public its only as a visual for the musicians so this won’t affect people who are colour blind. Even if the musicians were colour blind they will know where their square is so it shouldn’t affect the performance at all.

 

MD5311 – Audience and Market – Radio

The main platform for me to share my music would be through the BBC introducing channels, these all offer a wide genre showcase and they have a clear road to how you get in contact to send your music over.

BBC introducing have a link on each local show page to send your music too. You add a post code with your song and this ensures it goes to the correct local station for you.

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The local stations for me would be:

BBC introducing West Midlands

&

BBC introducing Hereford and Worcester

These two stations being the ones I am local to, also using two different stations as an outlet gives your music a wider audience.

Both these stations include artists that are either singer songwriter, or instrumentally electronic.

  • Megan Lara Mae – BBC West Midlands  – https://www.bbc.co.uk/programmes/p0532w24/p0532vxs
  • Lucia nicol – singer/songwriter –              https://www.bbc.co.uk/programmes/p03bjpb5
  • Ella Jones – Singer/songwriter with electronic backing https://www.bbc.co.uk/programmes/p031xsdl

The last two on the list were showcased on BBC introducing stages at various festivals after their music being liked and played on the BBC Hereford and Worcester station.

I also looked in to small radio stations and came across a huge network in London. This article explains much more –

https://www.standard.co.uk/lifestyle/london-life/meet-the-small-radio-stations-that-are-changing-the-face-of-londons-airways-a3200551.html

These stations were originally set up to showcase music that isn’t mainstream and as a place that plays a variety of genres and smaller artists.

As I was reading the article this statement really stood out…

”Station manager Adrian Newman says: “Pluggers know that to get music on our station they need to send it to our young presenters — and if they don’t like it, it’s not going on. There’s no trading; it’s honest.’’

This just goes to show that if your music is good then it will get played, something I find could be really rewarding.

 

I am then led on to internet radio stations ….. MD5311 – Market and research – Internet radio

 

 

 

 

MD5319 – SM2- Music for Networks and communities – T1 – Collaborative play

For this task we chose to do a short call and response rhythmic music performance. Our performances allows room for it to be developed in numerous of ways, by taking something as simple as clapping and the scraping we were able to create something that could be different every time you play.

The first time we tried this, I clapped the rhythmic patterns, while ophelia tapped her pen against objects but as we listened back there was no differentiation of the two so she changed to scraping objects instead. This not only allowed us to differentiate between the two but also it gave the piece a variety of sound, not just all on one level.

This is also not restricted to a set number of people, I think that it could work on a large scale. It would be a case of having everyone in a circle preferably so you have that sense of eye contact directing you. I feel that the piece works on just jumping in when it feels right, there wouldn’t be a need for a someone conducting as such.

 

MD5319 – Final – Summative reflection and statement

Summative reflection and statement

Planning for the workshop

Throughout the planning of the workshop the ideas kept changing but stayed based around the same idea; Our idea was to hold the aim that music can be made from anything, you don’t need a musical instrument to create music.

Through many conversations with the group and with Simon we all agreed that introducing a task would mean the workshop had an outcome. This story introducing the idea of the workshop working towards something was what it needed. We had something to strive for during the workshop and it gave the kids an education based workshop which would appeal to schools.

We drew upon ideas from what is key in primary education, and settled on colours and stories being a main memory from our primary school times.

The story idea was finalized after Christmas as we came up with ideas over the festive break so this meant we were slightly unprepared when we came together the Friday before the workshop.

This last minute adaptation really brought on the stress for me as it created more prep for us to do.

During this time, it really started to show the cracks when working in a group, with slight tension here and there. I found it really difficult as I usually work on my own so going from that to working with 3 more people proved difficult. I wasn’t able to steam ahead getting everything sorted and having control of it, I had to rely on other people which really stressed me out.

This module has definitely tested me, mostly with group working!

 

Prep for the workshop

All of the instruments were handmade, based upon real instruments. I had the task of creating rattle drums…

Expansion on the instrument making- https://rosiemountjoypom.wordpress.com/2018/01/12/md5319-workshop-finalising-12th-jan-2018/

When you initially think about making instrument you don’t think that it would be time consuming but it most certainly is! Even the thinking behind it, like ‘is this safe’, so cutting away sharp edges or covering bits that could be dangerous…

We distributed the instrument making over the four of us. I also had to write out all the words for the story board, which ended up taking hours! Now thinking about it, I think we should have shared the work load out. Ophelia wrote out que cards for us all, this was just so we had a safety net while the workshop was going on to make sure we kept on track and didn’t mess up. (this took a little bit of stress away)

We had to bring everything together on the morning of the workshop day which piled on a lot more stress than if we had of tried to sort it out beforehand. I think with prepping for a workshop you just need to make sure everything is sorted well in advance or else it just causes way more stress than necessary on the day.

 

Workshop assessment day

As I mentioned above the stress on the day really was at a peak for me and I carried this through into my workshop.

The workshop I think ran smoother than I anticipated, and we kept to schedule and reached our outcome. All the ideas were there and I feel we had a solid base for the workshop but the lack of rehearsing and stress dragged the overall workshop down for me.

I think the time constraint really impacted us in many ways; We seemed to rush through the introduction and explanation of the task as we didn’t want to hang around too much and waste time. We could of spent an extra 2 minutes at a push making sure everyone knew what they were doing as at some points it seemed like a slight mess.

This rushing seeped into the setting up as, I noticed half way through when I was explaining about the instrument groups that two instruments were assigned to the wrong group which could’ve thrown the ‘kids’ off. (our fellow students)

This rushing again caused problems again when the girls were assigning the colour to the words that the students chose the colour to; We ended up with 3 words on the wrong coloured paper so the wrong instrument group were playing on the wrong word. I decided to go and change it as soon as I noticed so I drew attention to it but part of me now wishes I ignored it and I feel like they wouldn’t have known any different. Obviously I did it because if It was a real workshop situation we would have been teaching kids the wrong thing.

Our main aim was to teach kids that you can make music from anything you can find. I feel that we achieved this aim however the focus was taken away from this with the story. There was a lot of attention based on the story during the workshop and it took from the novelty of having instruments that are homemade and quirky.

Saying this our aims that coincided with our main aim was to introduce kids to the idea of a score, dynamics and overall to create a soundtrack to go alongside a story; These aims I felt that we definitely achieved. Having more than one aim gave us the opportunity to expand what we got out of the workshop.

The workshop went well but I think no matter how many practices or how prepared you think you are there is always going to be something that’s not quite right or completely wrong.

Feedback from the class

We had some really good feedback when we asked what they thought at the end of our workshop. With comments about how they enjoyed using instruments that were homemade and how they created funny and weird sounds. Leah made a interesting point that because the instruments were funny it could’ve totally taken the workshop in a messy direction but the story kept them focused as they had something to follow.

 

Contextual statement

The module overall opened my eyes to what community music really is. It also led me to explore different paths for me personally to take in my music career; Music therapy is something I shall definitely be considering at some point, there is still so much I want to explore as it is such a broad topic.

I didn’t realize how much community music helps people, I thought it was just about spreading music to people in the community but it is so much more than that. There are workshops set up to help younger people cope with mental health, which currently is a growing issue, more workshops need to be recognized as helping as I think this could be a great way to combat issues behind this.

The module has completely educated me in more way than I thought, community music was a module at my college which involved us going into primary schools and teaching year 5s songs; My preconception of community music came from this experience so this is why I was so shocked when I started to explore the branches that come of this subject.

The whole backing that music in the community is about helping people is something that draws me into wanting to get involved. Using music to help others is something I strive to do with my song writing so knowing this is an option when looking at a career in music has opened a new idea door for me.

The impact it has had on my own practice is how it has made me notice how important early preparation is. When working in a group the prep is crucial for it to run smooth and avoid tension. I wish I knew this beforehand!

Working in a group impacted me hugely, this dynamic change wasn’t something I expected to affect me as much as it did. Working with groups is something I need to work on more as this was the first proper graded task I’ve done in a group and I must admit it’s scared me off doing it again. Having more experience with group work may help towards a smoother running of workshops in the future.

 

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