Conclusiones de conceptos y referentes de proyectos urbanos sobre cuencas hídricas

Levitin, discussing the Beatles, notes that “when ‘Yesterday’ plays with its seven-measure phrase, it is a surprise, it still interests us because it violates schematic expectations that are even more firmly entrenched than our memory for a particular song” (2006, 115). As “music unfolds, the brain constantly updates its estimates of when new beats will occur, and takes satisfaction in matching a mental beat with a real-in-the-world one, and takes delight when a skilful musician violates that expectation in an interesting way” (Levitin 2006, 187).

This violation of expectation has taken place in ClubRock and feedback from the co-researchers and Rock professionals involved has indicated delight in the differentiation of structure. At some point after playing a loop the audience loses any sense of expectation, it is in this state that surprise acquires increased affect (Shapiro 2000). As a radio producer I experienced this timelessness as I elongated instrumental sections of Rock songs to dramatize backdrops for promotional material. The soundscape was comprised simply of the rhythm section looped over and over again. I came to appreciate the rhythm section in its own right, void of vocal lines and instrumental improvisation. The ability for ClubRock tracks, particularly Asteroid B-612, to loop for an extended period of time is aided by its capacity to entertain without requiring melody. This enabled the format of the song to be fluid, to be lengthened and still be a viable Rock structure.

The extended format derived from the research created freedom in praxis and an extension in creative thought. These techniques can now be incorporated easily in my Rock composition without the use of beat-mixing that developed them. The lessons learned from the research have developed an armoury of production tools that are applicable to many different recording situations.

28 7.6 Personal reflection

Get Lucky works as a Rock album and is reminiscent of early Splatterhead recordings—especially the

period when the band was called the Lompoc County Splatterheads. As is supported by peer review, I also feel that the presentation of the tracks benefits greatly by being seguéd through beat-mixing. The continuous soundtrack has the tendency to hold the listener’s attention until the end. The extended structure of the individual songs also creates another dimension of interest and adds to the listening experience. The extended form creates an environment where the listener can be immersed, even lost, in the music without the interruption of the gaps that accompany the traditional album format. If the compositions were played individually in a traditional album format there would be a significant difference in the listening experience. However, the addition of mix-breaks allows the situation where recorded or mediated Rock music can be reproduced with variation to introduce spontaneity or

immediacy through the medium of a DJ.

Black Sabbath extended their music through strategic melodic journeys and deeply influenced the genre of Heavy Metal, which utilised long form as standard practice. The use of extended

introductions, breakdowns, key changes and time signature variations all contribute to a genre that is unique. Popular Rock bands like Tool have used this form to present their songs in a way that

mainstream Rock audiences can now embrace. Many other bands have experimented and used extended forms effectively in recording and live performance. Similarly, James Brown’s Live at the

Apollo makes good use of a theme as a segué between each song to form a continuous soundtrack.

ClubRock is not claiming uniqueness in creating a long form rock soundtrack—The Who, The Beatles, David Bowie and Pink Floyd have already successfully achieved long form recordings. ClubRock is another variation of long form presentation in Rock music but with an approach that is independent and with unique outcomes.

29 The application of beat-mixing, as discussed above, required regular breakdowns to introduce dynamic variation in a continuous set. Once the set was produced it was discovered that extending the form allowed diversity of arrangement. This diversity of arrangement was a positive research outcome from the application of the mix-breaks and breakdowns.

On reflection, re-recording the compositions at the same tempo would have allowed easier integration of DJ techniques. A set of the same tempo was achieved by vari-speed and was effective but to be able to provide a satisfactory master the compositions would ideally have to have been re-recorded.

Similarly, the structure developed as the project progressed and in the end was far removed from what had been recorded originally. The ability to re-record with this new structure, rather than looping pre- recorded material, would have been advantageous.

An interesting extension to the research project would be to explore the possibility of live performance using two drum kits playing simultaneously to create the crossover of the tracks. This would create a situation where the audience would be able to experience a live nonstop Rock set. With the research results presented on the album the continuous set has been demonstrated and is achievable live.

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