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Among the songs of countries and themes, we've settled on that of India and disco. Hannah and I became fascinated with Indian folk music after researching for our presentation. Especially, we were impressed with the significance it had on the people, as well as the sacred meaning that lied in each performance.

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The India songs will be a combination of Raag Pahadi and Rajasthani. Raag Pahadi carries a meaning of spiritual enlightenment and embracing love as well as the beauty of life. While, the Rajasthani has a meaning of self-discoverment and restraint.  On the other hand, Disco is a genre of dance music containing elements of funk, soul, pop, and salsa. It achieved popularity during the mid-1970s to the early 1980s. The disco component will be highlighted by the song 'Stayin Alive" by the Bee Gees. Essentially, we hope that the constrast will refine the Indian classical to become engaging for the youth today.

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We had a major change. For weeks, we were struggling to fuse traditional indian music with disco, or more specifically- "Stayin' Alive" by the BeeGees. That is why we decided to change, at first, from disco music to EDM. It was presented to be easier, as we had little problems in creating beats. Then, we changed the genre of traditional music as well- from tradition Indian music- Raag Pahadi, to traditional Vietnamese music- "cải lương". Because this is one of the types of music that our group have grown up with, and deeply respected, we thought it would be easier to connect the parts and change the beat.

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Statement of Intention for Vietnamese/EDM fusion

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Statement of Intention for Vietnamese/EDM fusion

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We want the audience to better understand the intricacies of Vietnamese traditional music and appreciate the beauty and flow of such songs. Originating in Southern Vietnam in the early 20th century, “cải lương” has since then became an integral part of the nation’s traditional arts. Crucially, we want them to think of the most important features of this classic that cannot be lost.  Thus, we intend to banish the thoughts that the songs are obsolete, and are definitely unable connect to the current generation. As for the Electro Dance Music, it started in the 1980s following an upsurge of interest in club culture. As of current, it is listened to and loved in an astounding international scale. We aim towards exploring the versatile features of EDM. In blending the funky, upbeat tones, the lyrical “cải lương” can be made prominent and given the spotlight, then to highlight as well the percussive and electro EDM. That is why we have chosen to fuse an extract from "Lâu đài tình ái"- roughly translating to "Castle of love", one of the most significant folk songs of the past, and adding characteristics of EDM using Garageband.

We want the audience, first, to feel respect, even admiration, for the extraordinary voices featured in traditional songs of “cải lương”. It is not easy for the folk singers to hone their voices in such manners that will both satisfy the melodic songs, and leave an impression on the audiences. Thus, as the emotional contour and passionate meaning of “Castle of love” is particularly poignant, we work towards keeping the expressive lyrics, while too avoiding boredom. And that is where we include the loops and instruments of EDM, such as synthesizers, electric piano… It would be ideal to have these dance sequences in the transitioning role, and/or to add texture or timbre wherever suitable. So, as the audience listens to the overall song, we want them to enjoy the upbeat, melodious features, then to be in-awe of the lyrical parts as well.

Our main message is to celebrate the traditional styles of Vietnamese songs, as well as adapt to and acknowledge the international popularity of electronic dance.

We are trying to communicate the blessing of love, conveyed by the profound Vietnamese lyrical voices, and set in a syncopated, upbeat melody of EDM.

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We officially began producing our fusion song. Picking an opening wasn't difficult, and we narrowed our selection to be one that is streaming and soft. The opening song in "Tuyển tập nhạc cải lương không lời hay" was most suitable and fitting. It was quite a standard piece in "cải lương"- starting with traditional instruments, soothing, soft, and not emphasizing on the lyrics. Then, we created a continuation. We, as mentioned, picked the lyrics from "Lâu đài tình ái." As we progressed, we picked a beat- the "Club Dance Beat", aiming to create texture and adding an upbeat sequence. Besides, we were able to divide the middle section into 3 parts. Furthermore, in transitioning between the second and third part, we thought of a section beat of our own, and carried it out using Roots Rock guitar. The last part of the song was also incorporated with a beat. It was quite efficient work, we were able to establish the core of a song. However, the beats weren't varying enough- there was only one type. Not only that, the song was still too simple and plain, although it was in harmony. Therefore, we aim to add more loops, beats, and pop/rock instruments- to create better texture and a more strong and rounded timbre. Besides, we would have to alter the pitch of the opening,  the ineffective pause, along with creating an ending as well.

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We dutifully made our second version of the song. As shown in the video below, there are more features to the current edition. In particular, the "Afloat beat" fits well with the opening part, creating a good unison and melodic timbre. Furthermore, we added the beat of "Brixton Light Rhythm Guitar" to the body, wanting to produce a harmony. Besides, the "Alien" beat was to act as a passage between the two body components. Additionally, to add an upbeat, fast rhythm to accompany the lyrics, we placed the "Bongo house beat" and the "Dirty beat". Not to mention, the "Turkish Calm" beat is to add texture and compel the melody. "The tough break" serves the same purpose of adding a melody, though letting the lyrics be featured as well. We managed a funky ending by adding "the blues harmonica" loop. Our song is still roughly drafted, but the development is still on track. To further refine the music, we intend to, first, completetly remove the "Brixton Light Rhythm Guitar" beat as it doen't suit in terms of ryhtm and motif, and possibly others as well. We are still having problems with thinking of ideas to enhance the texture, along with ways to better emphasize the lyrics.

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Our second version was changed to an extent. The first part of the body has only one beat as current: the "Afloat beat". In the second of the body, the former beat was switched to become the "Continuum beat". As for the third, we have selected the "All your base gate" beat and the "Downtown" beat. All of the additions were intended to add an upbeat tone and adjust a suitable rhythm. However, there is still much needed complexity and texture we need to generate. And that is essentially what we intend to do- using extra loops, intruments, even more parts from videos if necessary.

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Considerable development was made to our song. The opening at the moment is more detailed and has further texture. In total, 4 beats were added: "Get down guitar", "Gear up guitar", Looparound guitar" and "60s Shuffle Drumset". It is not difficult to recognize that the majority involves guitars; that is because we were conscious on creating an EDM sequence. However, the harmony seems to be muddled, and the loops aren't well in sync, espcially working with the"Get down guitar". Recognizing this, we plan to remove the loops that are ineffective, in hopes of restoring a better flow and rhythm. In addition, we added the drums to support the lyrical sequence- of straightforward rock style, and mixtape preset. The drums do add to a loud dynamic and steady rhythm, but we plan to decide whether it is needed or not. Not to mention, we have identified a decent rising and falling, or contour, in the melody. Besides, Hannah and I also tried to incorporate a feature of pop music into the song; that is, a repeated verse or chorus- which explains the last recurrent lyrical sequence.  Overall, the parts of our song are pretty well-defined, and we are on course for a proper structure.

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Our group continued to make adjustments to the song. As planned, we made selections in the opening, decided upon new rythmic loops: "Back alley rythm guitar" and "Back alley lead guitar"- for adding texture to the opening and supporting the "Afloat beat". Furthermore, we included a new loop- the "Arican King Tsonshi" that was aimed at testing a new transition or melody for the starting sequence. Yet, it didn't connect well, and the latter afloat beat wasn't syncrhonized wth the singing. We liked the beat, nevertheless, so decided to find ways to better encoroporate it into the song. One major problem still stood out- the transitions in our song weren't sufficient in fitting in with our theme.  As for the drums, we were struggling with where to include it for better texture and ensuring the rhythm at the same time. Evidently, little changes were made in comparison to the former version. But we will gurantee methods to add complexity and more distinct melodies to the song.

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Here, our song has been extended to a more notable degree. We were especially pleased with the way we rearranged the opening. After moving the "Arican King Tsonshi" to overlap with the "Afloat beat", we managed to find the "Amazon River Beat". It worked very well in tying the sequence together- all in terms of harmony, rhythm, and a bright timbre. For the second part of the body, we saw that including the drums worked well to reinforce the texture. Not only that, a part of these drums also served as a successful transitioning to the fourth part (repeated verse). Crucially, we have been able to add and refine an entire new sequence after the intended chorus. "Bring it synth" and "Boomer" were created to bring about the lyrical singing that shines when there is no accompanying music. Then, as we change to the final piece, the addition of "Left Coast Wah Guitar" and "Picked Rock Bass" played the part of a rythmic transition between the interval. Finally, the "Festival kick" and "Brass Brigade Beat" are meant to construct a texture and strengthen the upbeat motif.

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At this stage, we became focused on reaching our requirement for 2 minutes. First of all, a new drumming sequence was added to the beginning of "Afloat beat"- a songwriting sort of drums that is a funky pop beating on a natural-sounding kit, with a "big swell" preset. It encorporates a groovy rhythm while not disarranging the whole of the sequence as well. We were struggling with creating a piece for the interval; but finally was able to connect "Countdown Arpeggio" , "Bot Chord Layers", and "Straight Up Synth Lead" to fill the space. Particularly, the transitioning from a louder, more intense in dynamic and rhythm to a lesser one is quite suitable. The same method is enforced to create an ending as well- from "Aftershock Synth Lead" to "Deep Electric Piano", with the accompaniment of "Classic House Beat" is one of the better parts regarding texture and timbre. However, there were sequences that proved to be too excessive, specifically from 1:45 to 2:10. Because the song already exceeded the needed amount, I thought reductions could only make the melodies more straightforward and concise, avoiding too much strained timbre and messy, unsynchronized pieces. Nonetheless, there were parts that are satisfying, and will be kept in the song.

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The eighth version is, as we decided, our final product. It was the time to recheck and put the finishing touches to our song. The repeated sequence was accepted to have the "Choral Tension Sampled Keys" and "Champion Chord Layers" accompany the singing and serve in the interval. As for alterations, it was essentially focused in the last parts of the song. The last lyrical singing was changed to better suit the rhythms of the decided loops: "Above And Beyond Synth", "Bam Bam Beat", and "Big Drop Beat". However, the next few beats weren't in sync, didn't have enough texture, and needed more complex melody. Still, the ending was constructed to a gratifying degree. The "Turkish Spice Saz" was a unique loop that gave a funky tone and was a suitable continuation. Then, the music gradually brought itself to a close in a slow rhythm and softer dynamic- the "Deep Electric Piano" and "70s Electric Piano". As such, our work was complete, and we accomplished the task of fusing Vietnamese traditional music and EDM music.

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Evaluation of my group's product (Jan 15 2016)

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Evaluation of my group's product (Jan 15 2016)

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An objective assessment of our song would be recognizing that it has both its better qualities, and its inefficiencies. To begin with, our song was successful in creating an adequate response with Vietnamese folk and EDM. We have greatly improved in the area of time management. A structure was identified, in which we were able to establish an opening, climax, and ending. Besides, we were able to use the different and individual features of each genre, creating a contrast that helps one another to excel and accentuate. A rhythm was established with each part, and the dynamics are in control. Our texture was, additionally, of both folk and funky style. Nonetheless, we still have many faults. Many of the combinations are still clashing, and disappoint the harmony. Furthermore, there are still several transitions that are still not smooth enough, and produce a harsh and strained timbre. It is quite possible that the variety of timbre causes confusion and doesn’t connect the flow. Not only that, each individual melody can be improved to further extents. Particularly, sequences that were just unsystematically given a loop or instrument without deeper thinking can be altered for the better. In general, our product, although still having complications, can certainly reach an audience to promote both folk and dance music.

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Evaluation of Rika and Alice's Nada Sousou (Jan 20 2016)

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Evaluation of Rika and Alice's Nada Sousou (Jan 20 2016)

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Rika and Alice's interpretation of the Japanese song Nada Sousou showed many varying aspects, both positive and negative. First of all, the instrument use in carrying out the product was proficient. The structure was clearly thought through; I suppose to highlight the particular melody of Nada Sousou. Also, the piano capably brought out the folk and traditional essence of the timbre and melody; while the guitar substantially referenced to the modern element of the song. The texture was ensured, and there was still a flowing, gentle harmony and concrete theme. However, there were still flaws that prevailed.  Perhaps, the most distinct fault was in the structure and the variety of melodies. From the beginning to the end, we would hear much of the same them and sequence. Although, the instruments did do to add texture, they didn’t accentuate or feature any tune. This is especially prominent if the audience is lost in the song. Moreover, while they did avoid flowing and transitional problems, they would have trouble with repetition and lacking of a climax or ending. Thus, overall, their product was a notable response to the changing of the words, all with commendable points and room for improvements.