Week 13
This week we had no official classes meaning there is nothing to reflect on so I continued to work on my projects with a lot of steam. The overwhelming project is finally coming together with all the techniques I have learnt and the sounds I had created. This was incredibly rewarding as the project I had visualised was coming together. With Alex’s project, I was waiting on his updated animatic for the sounds were needing to be timed. I had done a little more on his work but in the grand scheme of things I needed to wait for the updated animatic. When I received it I just had to adjust the timing of everything slightly. Editing the Foley was also something that needed a little time. I also needed to finalise my own self project and just need to edit the volume of some of the sounds. This was also the result of the feedback I had received from Darrin. The volume fixing was quite easy to do and I finished everything on relative time.
The article ‘Game Audio: Generative music, emotions, and realism’ discusses the direction that the game industry music might be evolving into. This means that the methods artists used are changing from ‘pre-cooked’ to ‘cooked on the fly’. .it also discusses the effects of headphones being increasingly common within users and the effects this has on the believable experiences in relation to mood and general game play. The article considers the implications space and location has on how ‘scary’ a sound is. Generally, if the sound is easy to place then it is less scary however when the test subjects were subjected to a sound at 0° and ±45° of elevation it was found that with no context there was nothing scary. This is relevant as it means that creating context for my piece will be important.
Rumsey, F, 2015, ‘Game audio: Generative music, emotions, and realism’, Journal of Audio Engineering Society, vol. 63, no. 4, pp. 293-297.
This article ‘Effects of emotion regulation strategies on music-elicited emotions: An experimental study explaining individual differences’ explores the experience and individual has during music listening. It is said that people are able to use regulatory strategies to modify their experiences of emotions (Karreman et all 2017). This means a person can use suppression of feelings (not allowing oneself to experience the emotion) which requires self-regulatory services compared to the enhancement of emotions (the accentuation of feelings) which means giving into said emotion. This study finds that the older population tends to turn on happy music when in a negative mood to increase mood/emotion or to decrease loneliness. And people that score highly on the neurotic scale listen to more aggressive and sad music to express these negative emotions.
Karreman, A, Laceulle, O, Hanser, W, & Vingerhoets, A, 2017, ‘Effects of emotion regulation strategies on music-elicited emotions: An experimental study explaining individual differences’, Journal of Personality and Individual Differences, vol 114, pp. 36-41.
The track from Merzbow titled ‘Ananga-Ranga’ is one that I was introduced to after. This track has an element of almost screaming sounds. They are intrusive and for this reason gives us a sense of danger. Although the length of the track is 29 minutes it is not the same content all the way through.
Merzbow, 2012, Ananga-Ranga,Relapse Records Inc, sound recording, viewed 26 September 2018
<https://www.youtube.com/watch?v=1KWeSzqmmpI>









