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Kellerman

Research output: Exhibits, objects and web-based outputsComposition

Published

Standard

Kellerman. Boynton, Neil (Author); Quick, Andrew (Author). 2009.

Research output: Exhibits, objects and web-based outputsComposition

Harvard

APA

Vancouver

Boynton N (Author), Quick A (Author). Kellerman 2009.

Author

Boynton, Neil (Author) ; Quick, Andrew (Author). / Kellerman. [Composition].

Bibtex

@misc{5adb318d24114dc9aade1fd3a657127d,
title = "Kellerman",
abstract = "The soundtrack for Kellerman combines sound design and composed music. The music comprises chamber and orchestral writing. The opening orchestral number is designed as an overture to the piece, itself combining environmental sounds (recordings of trains and water) with musical textures. In response to the historical elements of the work, a series of musical pieces were composed as pastiche works of the eighteenth and nineteenth centuries: a two-part prelude, a three-part fugue in the style of Bach and an impromptu in the style of Schubert. The thematic material of each of these was based on the song {\textquoteleft}With Our Backs to the Wall{\textquoteright} by Simon Wainwright (lead actor). Elements of the sound design include the synthesizing of swarms of mosquitos, reflecting the importance of water throughout the piece, and recordings of an industrial guillotine, which was used to create a beat-driven track with an irregular rhythm. The aim of the sound design was to create a palette of associated sounds that could be combined in different ways to resonate with the composed music.",
author = "Neil Boynton and Andrew Quick",
year = "2009",
language = "English",

}

RIS

TY - ADVS

T1 - Kellerman

AU - Boynton, Neil

AU - Quick, Andrew

PY - 2009

Y1 - 2009

N2 - The soundtrack for Kellerman combines sound design and composed music. The music comprises chamber and orchestral writing. The opening orchestral number is designed as an overture to the piece, itself combining environmental sounds (recordings of trains and water) with musical textures. In response to the historical elements of the work, a series of musical pieces were composed as pastiche works of the eighteenth and nineteenth centuries: a two-part prelude, a three-part fugue in the style of Bach and an impromptu in the style of Schubert. The thematic material of each of these was based on the song ‘With Our Backs to the Wall’ by Simon Wainwright (lead actor). Elements of the sound design include the synthesizing of swarms of mosquitos, reflecting the importance of water throughout the piece, and recordings of an industrial guillotine, which was used to create a beat-driven track with an irregular rhythm. The aim of the sound design was to create a palette of associated sounds that could be combined in different ways to resonate with the composed music.

AB - The soundtrack for Kellerman combines sound design and composed music. The music comprises chamber and orchestral writing. The opening orchestral number is designed as an overture to the piece, itself combining environmental sounds (recordings of trains and water) with musical textures. In response to the historical elements of the work, a series of musical pieces were composed as pastiche works of the eighteenth and nineteenth centuries: a two-part prelude, a three-part fugue in the style of Bach and an impromptu in the style of Schubert. The thematic material of each of these was based on the song ‘With Our Backs to the Wall’ by Simon Wainwright (lead actor). Elements of the sound design include the synthesizing of swarms of mosquitos, reflecting the importance of water throughout the piece, and recordings of an industrial guillotine, which was used to create a beat-driven track with an irregular rhythm. The aim of the sound design was to create a palette of associated sounds that could be combined in different ways to resonate with the composed music.

M3 - Composition

ER -