1. My first idea that I am most excited about is creating a perpetual collage of music by a specific composer compacted together and modified in order to create a sort of musical “vomit” of that composer. Specifically, I would like to work with Bach’s keyboard works and I would probably use a hundred recordings to do this. The goal of this project is to strip away as much as I can from a composer’s music (in this case harmony, form, melodic phrasing, etc.) and see if it is possible to reveal something from just the bones of the music that could still be identified as sounding very “Bach” or whomever the composer may be. The program would continually playback short sections of several randomly selected pieces from randomly chosen locations in the track while subtly altering the sound in order to create this experience. It may be wise to do this with two composers and allow someone the ability to switch between them to hear the stylistic differences.
2. My second idea is to create a (quasi-) musique concrete piece using an existing recording of a piece of music as it’s sound source. I have done this before to great success with a recording of my own music, so I imagine it may be a good idea to explore using another composer’s work this time around. Perhaps, for the audience’s sake, I could choose a popular piece of music to create this “remix”.
3. My final idea also has to do with musique concrete. I am wondering if it may be possible to obtain recordings from concert halls from before the performance begins (i.e. when the players are warming up and tuning) and not have to deal with any legal issues since no music is actually being performed. By splicing together tiny sections of performers warming up and playing short passages from different pieces of music, it may be interesting to create something that reflects the overall impression of being in the audience during this warm-up time.