The three keywords I have chosen are:
1. Music Concrete
2. Spatial
3. intention

Music Contrete’s focus on the sound itself as a subject matter interests me specifically in making compositions that are abstract and alienating to a conventional music listener in that, as class mate Amani described, music is circular, where as music concrete can be quite linear. There is not necessarily a set rhythm, key or structure to pieces. They can simply be an exploration into capturing sounds which are then manipulated with the use of audio tapes and their technologies’ on board tools. This can be seen in the works of Delia Derbyshire where she employs the use of varispeed, splicing, reverse playback and physically playing with the routing of the tape to create pieces that do not necessarily fit into any particular genre of music, yet are still fascinating.

Spatial refers to something occupying a space. This word is very important to me in sound in that it dictates the reverberations of an original sound source. It alters the source so much and affects our own psychoacoustics on an individual level. The acoustic properties of a space can give so much more depth to an original audio source. It is the same reason architects built auditoriums in Ancient Greece so that the speakers voice could be heard clearly to the audience. It is the same reason why Church’s are built to impose a feeling of transcendence and the presence of God when choirs sing. And it is the same reason why in an anechoic chamber, after not long, people find themselves to feel sick or lose sanity. Space and its physical properties add so much depth to our experience in how we listen to sound that it affects us on a deep emotional level, hence why even the same sound created in different spaces have a much different affect on how we perceive them as well as our reactions to them.

Intention to me means, essentially, not to go with the flow. In other words, it is putting purpose to whatever we do. It is saying “this is my goal that I have set out to achieve” and then acting upon it. I myself have battled with this in trying to understand why exactly I create certain types of music and wether it is actually worth pursing them as a career option or artistic approach. If one creates without intention, interesting experiments can blossom from wandering into the dark not knowing where an emotional state can take us… Yet I find it always creeping up on me: the need to know what exactly I have created means and an answer to the question “where is this leading me or the listener to?” I hope that the use of intention as an artistic tool can become a compass on my own works to realise the power of my talent that I am able to use the art in itself as a means to help others whose voice isn’t heard in society, and go beyond what I would call meandering in the world of art to an unknown destination. …Although I do realise the hypocrisy between this and my point about music concrete’s focus on the sound itself. I think the answer lies somewhere in the middle.