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“JUZIKAL”
THE
COLOR
OF
MY
MUSIC
MyColorMusic.com
DJUDJU
HARTONO
MMUS
CANDIDATE
–
CONTEMPORARY
PERFORMANCE
JULY
3,
2014
C.E.
ADVISOR:
ENRIC
ALBERICH
TABLE CONTENTS
ACKNOWLEDGEMENTS…………………………………………………... .i
1. INTRODUCTION……………………………...……........................1
2. BACKGROUND………………………………………………………..…..2
3. OBJECTIVES………………………………………………………….…...4
4. PROJECT DESCRIPTION.....................................................4
5. PROCESS DESCRIPTION……………………………......……….…..5
5.1.
Creativity Tasks…..................................................…5
5.2.
Technological Tasks………………………………………………….…….6
5.3.
Technical Tasks……………………………………………………………….7
6. SONGS DESCRIPTION……………………………….....................9
6.1.
Why Not?...............................................................9
6.2.
Roses…………………………………………………………………….……….11
6.3.
Be There………………………………………………………………………..13
6.4.
Pleasant Journey……………………………………………………………15
6.5.
Sweet Moment……………….........................................17
7. PROMOTION STRATEGIES………………………………………….19
7.1. OBJECTIVES:………………………………............................19
7.1.1. Share my music with the world.................................19
7.1.2. Discover my style……………………………………………………………19
7.1.3. Target audience……………………………………………………………..19
7.2. ACTIONS:….................................................................20
7.2.1. Music through website.............................................20
7.2.2. Music on Facebook………………………………….....................20
7.2.3. Music online……………………………………………………………….…..21
8.
CONCLUSION................................................................21
APPENDIX A………………………………………………………..………23
BIBLOGRAPHY....................................................................24
ACKNOWLEDGEMENTS
I
am
grateful
for
the
help
many
people
have
given
as
a
part
of
this
project’s
development.
I
would
like
to
thank
my
music
director
Victor
Mendoza
and
C.E.
advisor
Enric
Alberich
for
their
wise
guidance
and
thought-‐
provoking
questions.
I
would
like
to
thank
my
Committee
members,
Musicians,
MTI
partners
and
sound
engineer
advisors.
Lastly,
I
would
like
to
thank
my
family
for
their
complete
support
and
for
keeping
me
grounded
with
encouragement
and
love.
i
Artist
Festival
(Singapore)
1. INTRODUCTION
This is the first time I have explored the relationship between
music and art, particularly Chinese landscape painting. There is
always a favored inspiration in whatever you see, places you go,
in living in a place with a different culture, people you meet or
the influence by different musicians work and much more than
you can imagine. I am very grateful and inspired by my uncle
Sesin. He currently resides in Shanghai and works as a doctor
and an artist in Chinese calligraphy and Chinese painting. He is
also an accomplished pianist.
Sesin’s paintings supply me with an endless stream of ideas
for developing my personal language. These inspire my musical
textures, sense of tone, composition and rhythm. The paintings
vary depending on the sophistication of my uncle’s subject. He
seeks the extraordinary in ordinary things, and brings freshness
and vitality to the landscape scenes.
Painters often find inspiration from musical colors or the
abstract idea of music.[1] Regardless of the chosen medium;
color and music are essential elements in any successful artwork
to keep the viewer engaged. Whether we are listening to Bach or
blues, our minds are innately wired towards music-color
connections and we respond depending on their unique melodies,
harmonies and rhythms.[2] The association between color and
music is scientifically evident in conditions such as the
neurological phenomenon of synesthesia, which has been noted
since Greek antiquity.[3] There are countless works by poets and
artists, such as The Gift by Vladimir Nabokov or compositions by
Scriabin and Messiaen, which interpret music and words through
colors. This natural human phenomenon is found all over the
world independent of one’s culture or race.
1. Grove Music Online, s.v. “Colour and Music” (by Jörg Jewanski), http://www.grovemusic.com/
(accessed June 6, 2014).
2. All Things Well, "Articles| A Spoonful of Music" (by Robert Wyatt), www.allthingswell.com/
(accessed June 6, 2014).
3. Dani Cavallaro, Synesthesia and the Arts (United Kingdom: McFarland, 2013).
1
2. BACKGROUND
Music is my greatest lifelong passion. As naturally as one
breathes and the blood flows through their veins… music is
essential to my existence and self-identity.
Since age 9, music has been an irreplaceable part of my life
and daily routine. There was not a single day when I did not
tingle with the white and black keys. It is like my body depends
on playing the piano and only through this unification can I feel a
sense of wholeness.
My first encounter with music was that from the classical era.
However after studying classical music for a certain time, I
developed an interest in jazz, which proved to become my great
passion. It was not an easy transition from classical to jazz;
nonetheless the challenge only fuelled my desire to explore its
vast repertoire. After several years of perseverance and
passionate pursuit, I finally graduated with a B.Mus (Jazz) from
Berklee in 1987.
After my studies at Berklee, I returned to Jakarta, Indonesia,
to form a band and produce records. A few years later, the live
jazz scene took me to Singapore where I eventually settled. Here,
I taught pop and jazz at the Yamaha music school whilst
continuing to perform with my band every now and then. Today I
live in Vancouver, Canada, and continue teaching, composing
and performing.
Music
Festival
(Singapore)
Spirit
Band
at
TVRI
(Jakarta,
Indonesia}
Spirit
Band
(Jakarta,
Indonesia)
RG
Band
(Singapore)
2
Several
artist
Composition
(Jakarta,
Indonesian)
Through many years of experiences as a teacher and
performer, I am comfortable with my understanding of
composition and jazz improvisation technique. Furthermore, I
have developed a unique ‘color’ that expresses my personal
voice through my original music. However, my great journey
through jazz is still ongoing and I have maintained my insatiable
desire to continue exploring new and exciting forms of jazz music.
In my journey, I have listened to the music of all the
greats artists and my fellow jazz players. I meditate over their
songs and analyze their techniques with the option of
incorporating them into my own improvisations. I have read
books and articles by jazz players and I am very keen on
experimenting with new techniques and ideas others have
pioneered.
I am always searching for new opportunities. I want to be able
to develop a larger body of work in my compositions and
improvisations as well as a more refined ‘color’ with many
varieties of techniques. I still feel a great need to enrich my
music further. Thus, after some self-reflection, I decided to
return to school and obtain my Master’s degree in jazz
performance.
After researching several colleges such as USC, CSULB, UO
and YU, I became certain that Berklee, Valencia Campus was the
right destination to further my study and acquire my Master’s
degree. Not only does it provide great study opportunities in the
curriculum, which incorporates new and alternative approaches
to musical creativities; but it also allows the students to perform
in public concerts & recitals. The study of the new technologic
era is something that can also be a great advantage for my jazz
exploration and enhancement.
Moreover being a Canadian, I am
proud to enrich my study in a reputable Berklee College of
Music (Valencia Campus).
Cultural Influences and World
Connections are designed for students and educators to meet
their career goals.
3
3. OBJECTIVES
Paintings are a culmination of unrestrained spirit and unbridled
joy. The most beautiful paintings are those that exhibit one’s
emotions and pure spirit in an intoxicated state. My uncle,
Sesin’s paintings are exactly that. His rich spirit has gifted him
with the ability to create a “playful” tone in his paintings. They
are incredibly bright, vivid and bursting with creativity. His
expression of color is like an improvisation of somebody seriously
interested in the art.
My CE is a musical exploration of the phenomena of colors
between music and art. As painters find inspiration in music, I
have similarly found inspiration in my uncle Sesin Jong’s
paintings for my compositions. Although Jong’s colors are crafted
by his brush and mine through notes on a piano, they both serve
one fundamental purpose; to unbridled emotional expression.
Jong’s landscape “Why Not?” captures an emotion like this,
which I expressed in my accompanying composition “Sweet
Moment”. Whilst Jong used vivid contrasting colors deeply rooted
in a rich Chinese heritage, I composed a piece rich with melody
and harmonic textures to transport the viewer into this realm of
colors and poetic imagination.
The concept of my project is to explore creative expression as
an emotion, with music and color, where the participants can
interact with their movements. In our daily life, expression is a
way to regulate and convey emotions. There have also been
significant studies that provide scientific validity for the role of
music in balancing the functions of our mind (source?) I intend
to:
• Learn about how composers are inspired by music, stories and
ideas from a specific culture or religion.
• Consider how composers can borrow and incorporate specific
musical ideas from different cultures in their own very
different musical contexts.
• Learn the technological and entrepreneurial skills that are
essential for the contemporary performer.
4. PROJECT DESCRIPTION
Sesin Jong my uncle developed his landscape painting
vigorously with ink brushes. The vibrant colors he uses are a
testament to the wonderful ease he has found in his new life.
Nobody uses colors quite the way he does, in large patches. He
is also skilled in creating contrast as well as harmony between
dense lines and swathes of black ink. He is especially good at
expressing light and colors, whether he is painting the night,
4
dawn, dusk, or hills and mountains. This is closely connected
with his use of foreign color materials. What is interesting is that
his expressions of color are still done in Chinese style. The use of
foreign materials does not change the ink brush or the themes of
his paintings. His cultural roots are deeply embedded in China.
My Culminating Experience project consists of a series of five
original compositions to express my uncle’s painting and reflect
my emotional feelings.
1.
2.
3.
4.
5.
Why Not? – Mountain Forest Enthusiasm
Roses – Autumn Landscape
Be There – That Splitting Force
Pleasant Journey – Fishing Under The Pine
Sweet Moment – Foggy Sunset
In this project, I would like to compose my original songs and
record them to express my universal emotions. I will also use the
modern facilities at Berklee Valencia for my Culminating
Experience Project called Juzikal (Colors of My Music) such as
the Scoring Stage, Recording Studio, Technology Labs, Library
and Ensemble rooms.
Upon completion of this project, I will produce a record with
songs that incorporate specific musical ideas from different
cultures in their own very different musical contexts.
5. PROCESS DESCRIPTION
5.1. Creativity tasks: I am going apply my imagination and skills
in creating contrast as well as rhythm, dynamics, melody,
harmony, tone color, texture and form.
5
Original
compositions
five
compositions
for
my
CE
5.2. Technological Tasks: The biggest challenge for my CE
project was becoming comfortable with the advanced
technological aspects required to complete it successfully.
As a performance major with limited music technology
experience, I had to learn how to use Pro Tools and the
practical aspects of recording such as the signal flow and
setting up sessions. To get the sound I wanted, the initial
challenge of finding the right musician and arrangement was
coupled with the difficulty of learning microphone and studio
techniques. Thus, finding the right MTI partner for these
sessions was of paramount importance.
I was able to overcome this challenge with the help of my
MTI partner. As the MTI students received more formal
training on the Scoring Stage workflow and the System 5,
we were able to conduct smooth recording sessions. My
fellow performers would rehearse and discuss the
arrangement whilst my MTI partner would set up the
necessary microphones and cables in the ISO, overdub and
main booths. During the editing sessions, I would discuss
with my MTI partner about the quality and balance of the
mix. As the MTI students had more experience with DAWs
than us, they were able to make informed suggestions
about levels, EQ, compression and other contributing factors
to the overall mix.
From this experience, I learnt the necessary skills to
produce my own record. In the future I should be able to set
up my own recording sessions with little or no direction from
an MTI partner. I should also double-check all of my player’s
schedules before booking the studio. Lastly, I have gained a
greater sense of independence with the workflow and will be
more confident in my own creative instincts in the future.
6
Overdubs,
editing
and
mixing
5.3. Technical Tasks: I arrange my compositions gaining firsthand experience in the pre-production, recording, and
mixing processes. Recording sessions take place in a variety
of venues, from professional recording studios with a largeformat console, to project studios, to home recording set
ups.
1.
2.
3.
4.
5.
6.
7.
8.
Idea
Collaborate with MTI partner.
Rehearsal practice - booking musician.
Rehearsal recording – preparation & advanced planning.
Recording 3 hours basic track & rough mix.
Overdubs, editing and rough mix sessions.
Final Mix
Mastering for final track.
Scoring
stage
live
recording
End
of
the
scoring
stage
session
7
-Recording agenda:
Song 1 – Why Not?
Feb 17, 2014. (Rehearsal Recording)
March 9, 2014. (3 hour tracking session on the Scoring Stage)
March 11, 2014. (Overdubs in studios A-D and Mixing)
March 29, 2014. (Final Mix)
• Piano - Djudju Hartono
• Clarinet - Miguel Ruiz Santos
• Bass - Haojun Qi
• Drum - Alex William
Song 2 – Roses
March 14, 2014. (Rehearsal Recording)
April 7, 2014. (3 hour tracking session on the Scoring Stage)
April 9, 2014. (Overdubs in studios A-D and Mixing)
April 12, 2014. (Final Mix)
• Piano & Keys- Djudju Hartono
• Vocal - Daniel Omphroy
Song 3 - Be There
Nov 18, 2013. (Rehearsal Recording)
Nov 28, 2013. (3 hour tracking session on the Scoring Stage)
Dec 3, 2013. (Overdubs in studios A-D and Mixing)
Dec 8, 2013. (Final Mix)
• Piano & Keys - Djudju Hartono
• Bass - Haojun Qi
• Guitar - Peter Connolly
• Drum - Rodrigo Malvido
Song 4 - Pleasant Journey
Nov 21, 2013. (Rehearsal Recording)
Nov 12, 2013. (3 hour tracking session on the Scoring Stage)
Nov 25, 2013. (Overdubs in studios A-D and Mixing)
Feb 1, 2014. (Final Mix)
• Piano - Djudju Hartono
• Vocal – Mari Sasaki
Song 5 - Sweet Moment
Jan 26, 2014. (Rehearsal Recording)
Feb 5, 2014. (3 hour tracking session on the Scoring Stage)
Feb 14, 2014. (Overdubs in studios A-D and Mixing)
March 1, 2014. (Final Mix)
• Piano - Djudju Hartono
• Bass - Haojun Qi
• Guitar - Peter Connolly
• Drum - Andre’s Walker
• Percussion - Sergio Martinez
8
6. SONGS DESCRIPTION
These are the concept that will be discussed: idea, colors, images
and emotions of each the composition.
6.1. Why Not?
Mountain Forest Enthusiasm
山林意趣
9
-Inspiration:
The clarinet’s flowing pitch bends, glissandi and phrasing reflect
the journey of the farmers and their bison winding down the
mountainside. The drummer’s intuitive placement of soft metallic
cymbals and rustling snares, complements the vertical flow of the
painting as if evoking the image of the artist’s own strokes brushing
across the aqua blue portrait. This lush acoustic texture of
expressive piano and gentle drum are interwoven into the clarinet’s
meandering melody like the artist’s vibrant splashes of red, orange
and purple. The effect experienced is one that is both subtle yet
daring, as the painting and musical composition complement each
other seamlessly. We are swept into the pastoral breeze of petering
bison hooves as we journey with the farmers on their return into the
wilderness.
The title of the composition ‘Why Not?’ brings light to the human
condition of self-doubt. In the painting we see two men, the master
and his apprentice, leading their bison into dangerous territory and
their fear is evident in their body language. The painting reminds us
of our inner strength in times of struggle, in the face of the unknown
and our often imposing surroundings. The scale of the mountainside
in comparison to the two figures emphasizes the formidable power
of the natural environment that is both frightening yet beautiful.
-Music examples:
Melody: Motif development, anticipating, syncopation,
sequence and repetition.
• Harmony: Modal Interchange, Chromatic bass line,
inversion/slash chords and modulation.
• Rhythm: Energy, emotion feel and soft metallic cymbals.
•
10
6.2. Roses
Autumn Landscape
秋暮
-Inspiration:
This sentimental ballad channels its drama through the battling
forces of darkness and color in nature. The artist’s contrast of black,
almost charcoal-like, tree trunks against the saturated spatterings of
red and green leaves captures the volatile nature of the
environment. It is a suitably dramatic visual fodder for the vocalist’s
libretto, “When will the springtime come, when will the roses
bloom?” as the shimmering strings combined with the furtive piano
movement gives a somewhat eerie yet enchanted atmosphere. The
melodic and harmonic prowess in the musical arrangement is
particularly evident in its delicate balance between the shades of
light and darkness. This balance is achieved without any abrupt
moment, creating a homogenous color of rich ambiguity alluding to
the vastness of one’s capacity for loneliness and joy.
11
Lyrics by: Daniel Omphroy
When will the springtime come?
When will the roses bloom when will I feel warmth in the sun
Or walk under the moon
I know I know I know there’s more to this life I know
I live it on my own
But now it’s gone so cold
I'm waiting for a new life to unfold
When will the springtime come?
Or roses bloom
I hope that I see them soon
When will I be free to walk?
Free to walk under
Walk under the sun
Walk under the moon
Fell warmth in the sun
When roses bloom
-Music examples:
Melody: Motivic embellishment and melodic variation via
different movement.
• Harmony: Modal Interchange, line cliché, inversion/slash
chords and modulation.
• String orchestration brings the essential beauty of emotion.
•
12
6.3. Be There
That Splitting Force
水劈山
13
-Inspiration:
The first thing one notices upon glancing at this artwork is the
house tucked away in what appears to be a dense, almost
foreboding woodland. Vast and overpowering environments are a
recurring theme in this artist’s paintings with his uncanny eye for
contrast with scale, and this painting is no exception. However, the
message conveyed in this one is perhaps most evident when
coupled with the sweet melody of the composition. One’s attention is
redirected to the house and we notice its striking simplicity. Perhaps
it is the artist’s use of the purest shades of white and blue that
capture its innocence, almost like an infant filled with naïve wonder
and bliss in a mountainside boasting a rugged beauty only achieved
from withstanding the decay of centuries.
The jovial brass hook is an enhancement of the lyrical piano and
acoustic guitar countermelodies. The extended piano and guitar solo
sections tie in wonderfully with the imagery of a living and breathing
forest, and rivers flowing with vivid stories from its own collective
conscious. This visual and musical poetry is aptly captured in its title
‘Be There’ which ultimately conveys a message of “stress-free
positivity” and zest for life.
-Music examples:
Melody: Motif development, repetition, sequence and counter
melodies.
• Harmony: Modal Interchange, Chromatic bass line,
inversion/slash chords and modulation.
• Rhythm: Smooth jazz
•
14
6.4. Pleasant Journey
Fishing Under The Pine
松影漁翁
15
-Inspiration:
The title ‘Pleasant Journey’ is perfectly fitting for this lyrical ballad
and accompanying painting. The understated piano and voice
arrangement are consistent with the refined elegance of the portrait.
The delicate piano interlude evokes the image of the raft flowing
along the river in a moment of serene natural beauty. With its
purple and sepia-esque hue, the painting’s aged charm is reflected
in the lyrics, “I think about the seasons that have passed” as if our
protagonist has captured this memory in a postcard. Like the river,
the bittersweet melody flows and ebbs between moments of hope
and introspection as expressed with refreshing honesty in the
singer’s native Japanese voice.
Lyrics & translation: Mari Sasaki
A. I think about the seasons that have passed
And I keep them in my heart
A. Being gently embraced by the warmth and happiness
I walk towards the future
B. What is ahead of me?
No one knows but it's full of hope
C. The blue wind caresses my cheek
And the white clouds smile at me
A.
It's never changed since my childhood.
Am I dreaming? It's far in the sky.
-Music examples:
•
•
Melody: Motif development, repetition, sequence.
Harmony: Diatonic chords, Chromatic bass line,
inversion/slash chords and modulation.
16
6.5. - Sweet Moment
Foggy Sunset
风寒霧失迷
17
-Inspiration:
To describe the red, orange and yellow sunset as lush would be an
understatement. This striking fusion of complementary colors
evokes a sense of timeless passion as though the all too often
fleeting moment of a perfect sunset has been captured in all its
organic beauty. The music appropriately conveys this feeling
through the texture of its instrumentation and arrangement. The
continuous bass guitar and drum beat are made whole with the
piano and acoustic guitar for a particularly lush middle range.
Everything feels like it comes together in the piano and acoustic
guitar melody in unison; this reinforces the strength of unity, which
only furthers the instrument’s resolve in their respective solo
sections.
The listener witnesses a lone figure, miniscule in comparison to
the vivid surroundings, which emphasizes the scale of this spectacle.
This same effect appears the music, it of breathtaking beauty, not
wanting this moment to end. Ultimately, this piece is a flourish of
jazzy chords and melodic gestures, which maintain a consistent level
throughout the entire piece, never losing momentum. This is fittingly
so, as the “sweet moment” of perfect sunset deserves nothing less
than the entire beauty one can conjure in a single breath.
-Music examples:
Melody: Motif development, repetition, anticipating and
syncopation.
• Harmony: Modal Interchange, Pedal point, inversion/slash
chords and modulation.
• Rhythm: Latin jazz.
•
18
7. PROMOTION STRATEGIES:
The following steps illustrate the method used to promote the
finished pieces.
7.1. OBJECTIVES:
7.1.1. Share my music with the world
This is the most important point. If I promote a bad track, or even
a bad album, it'll be hard to bounce back. It's better to wait until I
am absolutely ready to share my music with the world than to put
out some music I'll regret making later.
•
•
If I can, get feedback from respected people in the music
industry first. Build relationships with producers and ask them
if they like a track. Once at least 60% of them think it's worth
sharing, take that as a go-ahead because producers will be
more critical than my fans. Remember that I have to take the
time to build these relationships first.
Check out a music feedback service such as SoundOut, which
can help me share my music with other listeners and get
feedback just a few days later. This is a great resource if I
don't have as many connections in the professional world.
7.1.2. Discover my style
Though promoting my music is the most important thing, I have
to realize that I am promoting myself as well. I should see that I am
not just a musician or a band member but that I am a product. This
product has to be as appealing as possible, so I have to find a way
to make my style as unique and exciting as I can so that fans are
excited about my music and me.
7.1.3. Target audience
Even the best music can get the worst response if it's in the hands
of the wrong fan base. If I am into jazz music, learn to tell the
difference between smooth jazz, Latin jazz, contemporary jazz etc.
Understand what type of music I am really creating and whom that
type of music appeals to most of all. This will help me reach out to
fans, book the right venues, and sell my music the right way.
19
7.2. ACTIONS:
7.2.1. Music through website
Though social media is an excellent platform for promoting my
music, I must have my own website. This will help steer fans in the
right direction in the most professional way possible. My website
should have information about my concerts, music, origin story, and
anything else that can help get my fans more excited about my
music.
•
•
Use social media to promote my website, and include a link to
my website in all of my social media profiles.
I should pay for my own domain name and my own unique
website instead of promoting my band on a site for many
other bands if I want to stand out.
7.2.2 Music on Facebook
The best way to promote my music on Facebook is to create a
Facebook Fan Page. This will allow me to connect with my fans and
to separate my personal life from my professional life. Use my
Facebook page to give fans basic information about my music, to
provide exclusive content, and to give information about upcoming
releases, concerts, and anything else my fans would like to know
about my music. Here are some other things to keep in mind as I
promote my music on Facebook.
•
•
•
•
Don't annoy my fans by reposting the same information many
times over. Once should be enough.
Use "likes" as a gate to distribute content like videos and
downloads. If a fan "likes" my link, then he can listen to more
of your music.
Connect with my fans. Ask my fans for feedback, and take the
time to respond to my fans' comments. This will make them
feel more connected to my music and me.
Reach out to other artists on Facebook. If I know a more
popular artist or an artist whose music has a similar but larger
fan base, ask if he or she can promote my music on their
page; this will drive up my likes.
Create events. Use Facebook to create events that invite my
fans to my latest concerts. Even if the venue has already
created an event, this will help get the word out to more
people.
20
7.2.3 Music online
Have my music readily available on SoundOut, Spotify, and
iTunes. That way, I'll look like a real professional the next time a
venue manager or fan asks where he or she can find my music.
•
Use audio drops when I distribute and promote my music. This
means telling my listeners where they can find my music at
the beginning or at the end of every single, or at the
beginning and end of every album.
8. CONCLUSION
In conclusion, I discovered that the concepts of image and sound
are fundamental elements in the creative process. This “color music”
concept is not only grounded in the ideas of music and sound, but
also in the extraordinary creative capacity of certain individuals.
Today, music composition is regarded as a very progressive and
modern art form. Its growth can be attributed to the increased
accessibility of advanced technology. This technology is growing
every day and has opened up a vast range of new and innovative
possibilities.
Along with the advanced technology that has brought a fresh
breath of air to today’s music, we have seen a steady increase of
new musicians. The most valuable thing I have gained in my studies
here is learning about these new approaches to music. I believe that
a strong desire for learning is beneficial to all artists who strive to
create something of beauty. As every musician comes from their
own unique background, they bring an exciting sense of adventure
and a desire to fulfill their ambitions.
My education at Berklee Valencia has provided me with new
musical skills and perspectives on different cultures. In my journey
here, I discovered alternative methods for learning and selfactualization. I was able to unlock my potential for compositions
with functional and non-functional harmonic textures whilst adapting
to new technological tools. This is an essential process to
progressing my musicianship. I now realize the value of this
knowledge when I can now be unique in the way I create music. It is
a constant experimentation.
21
Looking towards the future, I believe that the joy of making music
comes from the never-ending discoveries that you find along the
way. It brings me great pleasure and opportunity to do what I love
to do - which is making music. I am unique and I have the ambition
to become a professional performer, composer and educator. Like in
all the best musical journeys, you have to be there in order to
experience it. A piece of music is beautiful, as is a painting or poem
or any work of creative expression. The rewards along the journey
of creativity become richer with enhanced musicianship and
appreciation, and I plan to continue this journey for many years to
come.
22
APPENDIX
A:
Thank
you
so
much
to
all
people
that
contributed
to
my
project:
• Victor
Mendoza
(Music
Director)
Committee
Members:
• Enric
Alberich
(C.E.
Advisor,
project
consultant)
• Polo
Orti
(Music
consultant)
• Alejandro
Cuadrado
(Design
consultant)
Musicians:
• Haojun
Qi
–
Electric
Bass
• Peter
Connelly
–
Acoustic
Guitar
• Miguel
Ruiz
Santos
–
Clarinet
• Rodrigo
Malvido
–
Drums
• Andre’
Walker
–
Drums
• Alex
William
–
Drums
• Sergio
Martinez
–
Cajon,
Percussion
• Daniel
Omphroy
–
Vocal
• Mari
Sasaki
–
Vocal
MTI
Partners:
• Yohann
Jo
• Austin
Oting
Har
• Randy
Schroeder
• Matthew
Mazzone
Sound
Engineer
Advisors:
• Steven
Webber
• Ian
Kagey
• Liz
Teutsch
• Gael
Hedding
• Pablo
Schuller
23
BIBLOGRAPHY
Cavallaro, Dani. Synesthesia and the Arts. McFarland, 2013. United
Kingdom: McFarland, 2013.
Jewanski, Jörg. s.v. "Colour and music." Grove Music Online.
http://www.grovemusic.com/ (accessed June 6, 2014).
Wyatt, Robert. "Articles| A Spoonful of Music." All Things Well.
(accessed June 6, 2014).
24
Media of
