Category Archives: Abstracts

My research outlines the importance of creativity, musical elements, and instrumental choices in hip hop music. I explore the creative elements that define trip hop and lo-fi. Furthermore, I adopt a multifaceted approach, combining elements of trip hop and lo-fi to create my own unique style of music, which I call trip-fi. The output of my research illustrates the intricate interplay between cultural influences and musical aesthetics by combining non-western and traditional instruments. In addition, I produced a concept album featuring three tracks in different styles: trip hop, lo-fi, and one experimental trip-fi track.

For my research project, I investigate melodic bass music production in electronic dance music (EDM). Through an analysis of the distinct characteristics of melodic bass production techniques, and a broad exploration of the impact of melodic bass music on similar styles of EDM, I provide insights into composing EDM. My research includes examining the production techniques and methods of influential artists such as Illenium. I also identify important software, including instrument and effects plug-ins used by EDM artists. I hope my research highlights the cultural impact of melodic bass music, underscoring the deep influence of melodic bass on an ever-changing global (EDM) music landscape.

In my research, I examine two methods of DJing: one method relying on performing with vinyl albums and the other, performing with modern-day digital technology only – digital audio files. I analyse and demonstrate these two methods with video documentation of recorded performances. In addition, I present an overview of each DJ system followed by a comparison of the two with respect to song/track curation, music transition techniques, and other performative aspects. The recorded performances feature an example of an all-vinyl method, as well as my own solo performance using digital technology only.

For my applied research project, I ask the question: what goes into an effective film stinger. I will present three film stingers designed for the horror genre. More specifically, I propose a solution to my question by creating three new stingers for the final villain confrontation from the film, Halloween (John Carpenter, 1978). In addition, I will discuss the musical and sound characteristics of the stingers from a composers perspective.

My work explores music design for horror video games. I examine non-linear, or adaptive, music techniques. I also show: how horror video game music conveys a sense of suspense and uncertainty; how the music informs, and may even mislead, the player; and how game music and player reactions/decisions form a feedback loop that drives the non-linear delivery of music. The outcome of my research is an original composition set to recorded gameplay of Resident Evil 2, remastered (Capcom, 2019). The gameplay features three new compositions set to three different scenes: (1) world, or level, exploration; (2) a potential enemy encounter; (3) a chase, plus combat, scene.

My project is a 3D visual and audio recreation of The University of Lethbridge’s Recital Hall. This project explores a practical application for creating 3D, VR, venues for music and sound using the Unity game engine. In addition, my project asks whether alternative music spaces (e.g., concert hall) can be created with, and exist purely in, digital formats. For Bounce and Cadence, I present a hands-on tabletop exhibit during which participants can interact with sound in my 3D recreation. Participants can experience a music mix created specifically for the digital venue. My research has been supported by the Joyce & Ron Sakamoto Prize for Research and Development in Digital Audio Arts.

See Group no. 4

The listening session features students’ solo and collaborative works-in-progress for Immersive Audio. Because all projects are in a developmental stage, students will present 2-channel versions of their immersive audio mixes, which may take diverse forms, including music and soundscapes.

In an age when both amateur and professional musicians – and even laypeople – have an overwhelming selection of digital technology for making music, grasping the pros, cons, and costs of different Digital Audio Workstations (DAWs) is vital. For my research project, I explore three different DAWs and highlight their strengths and weaknesses. I try to uncover whether or not audio engineers have a preconceived notion that: the more expensive the DAW, the better it must be.

For my research project, I created a spatial/3D audio remix of Blue Train, which was composed by John Coltrane (1957). The source material for my remix was provided by a student jazz band that I recorded for stereo playback in the course, Traditional Studio Recording Techniques. My spatial audio remix was completed using free and low-cost software only, including the REAPER Digital Audio Workstation (DAW). My project highlights the benefits of spatial audio and illustrates the use of freeware for developing sophisticated mixing routines and techniques, including aspects such as: dealing with instrumental/voice “bleed”, instrument placement/localisation, dynamics processing, and quite modest frequency processing.

For this research project, supported by the Joyce & Ron Sakamoto Prize for Research and Development in Digital Audio Arts, I analysed the room acoustics of specific music rehearsal spaces in the Centre for the Arts at the University of Lethbridge. I also explored the impact of applying sound treatments (e.g., acoustic panels) to the spaces. Building upon the knowledge and experience gained while studying acoustics with Dr. Georg Boenn, I designed and constructed acoustically treated sound-absorbing panels and installed the panels in a specific rehearsal room: W453C. In addition, I recorded the impulse response of W453C before and after the installation of the sound treatment in order to highlight the benefits of applying treatment to a music rehearsal space.

My research examines abstract sound design by exploring creativity in electronic popular music production. Abstraction in sound can refer to a sound whose origins may be hard to discern; the sound might be unrecognisable in that it does not conform to the listener’s expectations. Its physical, tangible, nature is somehow masked (e.g., material of the sound, or the way the sound is excited is foreign). In my research, I suggest that abstract sound design is prevalent in electronic popular music, especially because of the ease at which digital audio can be transformed. I also suggest that abstract sound design is central to an artist’s expression in electronic popular music. For instance, artists such as Jon Hopkins, Tim Hecker, and Aphex Twin are deliberate in the way they approach abstract sound design. In my own work, I show the same degree of intention, asking the listener to appreciate a sense of awe while exploring sound.

The creative output of my research consists of a new composition using the Korg Minilogue analog/hardware synthesizer and the Arturia Mini V3, a software or virtual instrument emulator of the Minimoog synthesiser. The composition will be in the Synthwave genre, which features highly synthesised tones (e.g., bass, leads, pads) and synthesised drum sounds. The music will attempt to evoke a sense of nostalgia for the listener.

My area of research explores how one can build a career as a voice-over artist in the audiobook industry, with a focus on storytelling genres; by “artist”, I mean the person or people responsible for narrating the story of an audiobook. In particular, I discuss the importance of learning to use the voice as an autodidact and also through voice training with a voice coach. In addition, I examine the digital technology used to produce an audiobook and I emphasise the role that proper sound recording equipment can play in improving the quality of an audiobook. One of the outputs of my research is a voice-over for which I position myself as the narrator. I will demonstrate studied techniques in my recorded narration.

The output of my applied research project includes presenting audio recordings of ultrasonic frequency information (i.e., frequencies about 20 kHz) from non-human species. My project involves selecting non-human sound sources and practicing recording techniques and methods for making ultrasonic “data” audible to the human ear. I will present artistic applications for this audio data, highlighting examples in which ultrasonic sound has been used as compositional material; two works that contain ultrasonic sound are Annea Lockwood’s Ground of Being and Eisuke Yanagisawa’s Ultrasonic Scapes. To date, ultrasonic sound in music and sound art has been produced by experts in the field, using extremely expensive equipment. My research demonstrates how access to inexpensive technology and how the general advancements in recording technology have allowed ultrasonic sound art to be created by emerging artists in the field, and not just by established experts. One of the overarching goals of my project is to invite a deeper appreciation for the complex non-human sounds that surround us, despite the sounds remaining beyond our natural sensory reach.

My research proposes a solution for integrating free, open source, web audio technology and audio effects software with a free game engine. The output of my research is a web browser-based piano roll editor that plays a monophonic synthesiser with artificial reverberation. The editor uses WebAssembly (Wasm) and JavaScript, as well as Functional AUdio STream (FAUST) for creating reverb effects. Wasm is a low-level byte code that allows for languages like C++ to be integrated into the Web. FAUST is an audio programming language designed to develop plug-ins and stand-alone audio applications. In addition, the piano roll editor presents itself in an environment built with GDevelop. GDevelop is a “no-code” game engine perfect for programmers with limited programming ability. GDevelop also offers JavaScript support. The general field of web audio technologies is advancing rapidly and can be explored on websites such as bandlab.com and onlinesequencer.net. A vast range of content is produced with these sites. My research has been supported by the Joyce & Ron Sakamoto Prize for Research and Development in Digital Audio Arts.