Genresis is a term coined for this three part sound composition that stands for genre synthesis and genre genesis. My aim is to synthesize acoustic recordings of different genres and merge with experimental and electronic music. In part two of Genresis, the AI narrator is noticeably more human and less artificial. This progression will continue such as the real time evolution we witness with AI advancing rapidly. This installment is a story about the significance we grant music vs visual art in the realm of fine art.
The flow of this story follows a curator of a prestigious fine art institution and their desire to present a modern and experimental musical installation that expands the boundaries of music as fine art. This musical narrative takes the listener on a journey with the curator and the sound art installation.
The composition begins with a cover of It Never Entered My Mind, originally written as a show tune for the 1940 Rodgers and Hart musical Higher and Higher. The decision to start with a cover of this jazz piece was influenced by the concept that the genre of jazz qualifies as fine art in the world of higher education. For decades after its conception, this was not the case. Stereotypes of jazz musicians for the longest time were in part driven by racism. The nuanced complexity of jazz music and technique is now regarded as one of the most prestigious music to play. The caliber of musicianship to be able to perform such intricate pieces of music that seem to bend the rules it itself creates is on par with the skill required to perform classical music. Jazz is now rightfully considered to be fine art.
The transitions in Genresis II are vinyl record scratches meant to symbolize vast realizations in the plot. Each portion of the five sections inside Genresis II is meant to take the listener inside the story underscored with the narration of the story.
The second definitive musical progression inside Genresis II symbolizes the powerful concept of creating an art installation merging genres seamlessly and the curator taking steps to realize this vision. It is backed by chaotic drums characterized by the unique sound of dubstep. The exhibition of “Harmonies Unbound” is a powerful concept to challenge what genre meant and its place as a classification system.
Visitors of all backgrounds emerge inside this exhibition and discuss music’s place inside the realm of fine art. Attendees young and old see the changing landscape of music and amongst themselves they debate how innovation is constantly changing the bounds of what fine art is. Classical music and jazz are held in high regard in the world of higher education but the beauty of fine art is that it is expressed inside every genre of music and is what connects humans together. Modern musical styles such as electronic and hip hop present a medium for expression. These expressions over time are considered fine art but when in their infancy are still perceived by some to be only a recreational form of expression with no meaningful value.
The fourth portion of Genresis II is an originally composed twelve-tone serialism piece of music performed on a MIDI keyboard. This atonal music is a style of music that lacks a tonal center, or key. In twelve tone serialism music, a composer assigns a number to a given pitch and generates a pattern that can then be repeated in several ways. It is analogous to using a mathematical formula to generate music instead of composing something pleasing to the ear. The primary goal of this artform is the process in which the music is made instead of how pleasing the music is to listen to. This type of music is also highly regarded in the world of higher education and academia as there is a nuanced process of creation. It just so happens that this creates an air of elitism when determining what music should be considered as fine art. This portion of the music was generated by myself using several formulas to create rhythms and harmonic structure. In essence, there is not a melody in this portion of the composition but what feels like sonic chaos going on during a vocal dispute over the nature of genres inside the story. Popular music can be characterized by some for its ease of listening, while twelve tone serialism is almost always dissonant to the ear.
Genresis II concludes with experimental electronic and hip hop music in which clarity is restored to the narration. It highlights that over time, musical evolution and the genres we put this art into will constantly change. Music deserves to be celebrated as fine art. It is a uniquely human expression that makes people empathize with others. Visual art does the same, so why should we view music as any different?
The flow of this story follows a curator of a prestigious fine art institution and their desire to present a modern and experimental musical installation that expands the boundaries of music as fine art. This musical narrative takes the listener on a journey with the curator and the sound art installation.
The composition begins with a cover of It Never Entered My Mind, originally written as a show tune for the 1940 Rodgers and Hart musical Higher and Higher. The decision to start with a cover of this jazz piece was influenced by the concept that the genre of jazz qualifies as fine art in the world of higher education. For decades after its conception, this was not the case. Stereotypes of jazz musicians for the longest time were in part driven by racism. The nuanced complexity of jazz music and technique is now regarded as one of the most prestigious music to play. The caliber of musicianship to be able to perform such intricate pieces of music that seem to bend the rules it itself creates is on par with the skill required to perform classical music. Jazz is now rightfully considered to be fine art.
The transitions in Genresis II are vinyl record scratches meant to symbolize vast realizations in the plot. Each portion of the five sections inside Genresis II is meant to take the listener inside the story underscored with the narration of the story.
The second definitive musical progression inside Genresis II symbolizes the powerful concept of creating an art installation merging genres seamlessly and the curator taking steps to realize this vision. It is backed by chaotic drums characterized by the unique sound of dubstep. The exhibition of “Harmonies Unbound” is a powerful concept to challenge what genre meant and its place as a classification system.
Visitors of all backgrounds emerge inside this exhibition and discuss music’s place inside the realm of fine art. Attendees young and old see the changing landscape of music and amongst themselves they debate how innovation is constantly changing the bounds of what fine art is. Classical music and jazz are held in high regard in the world of higher education but the beauty of fine art is that it is expressed inside every genre of music and is what connects humans together. Modern musical styles such as electronic and hip hop present a medium for expression. These expressions over time are considered fine art but when in their infancy are still perceived by some to be only a recreational form of expression with no meaningful value.
The fourth portion of Genresis II is an originally composed twelve-tone serialism piece of music performed on a MIDI keyboard. This atonal music is a style of music that lacks a tonal center, or key. In twelve tone serialism music, a composer assigns a number to a given pitch and generates a pattern that can then be repeated in several ways. It is analogous to using a mathematical formula to generate music instead of composing something pleasing to the ear. The primary goal of this artform is the process in which the music is made instead of how pleasing the music is to listen to. This type of music is also highly regarded in the world of higher education and academia as there is a nuanced process of creation. It just so happens that this creates an air of elitism when determining what music should be considered as fine art. This portion of the music was generated by myself using several formulas to create rhythms and harmonic structure. In essence, there is not a melody in this portion of the composition but what feels like sonic chaos going on during a vocal dispute over the nature of genres inside the story. Popular music can be characterized by some for its ease of listening, while twelve tone serialism is almost always dissonant to the ear.
Genresis II concludes with experimental electronic and hip hop music in which clarity is restored to the narration. It highlights that over time, musical evolution and the genres we put this art into will constantly change. Music deserves to be celebrated as fine art. It is a uniquely human expression that makes people empathize with others. Visual art does the same, so why should we view music as any different?
Lyrics:
In the heart of a vibrant city's thriving cultural scene stood "The Gallery”. A sanctuary of creativity and contemplation. However, this wasn't an ordinary gallery of visual art; it was a unique space dedicated to the appreciation of music as fine art. Within its walls, discussions about the nuanced term "musical fine art" unfolded like symphonies.
The curator of "The Gallery" was a visionary who believed that music, like visual art, should reflect a diverse range of perspectives. He drew inspiration from online conversations that debated the rigid genre classification structure within the music world. These discussions explored the idea that music should not be confined by narrow genre definitions, and that its classification should not be determined solely by traditional music establishments.
One evening, as the curator prepared for an upcoming exhibition, he found himself deeply immersed in these debates. He realized that he had the power to curate an institution that defined what musical fine art was for the public. This realization weighed heavily on him. He understood that he held a unique responsibility, one that required balance. Balancing the traditional genre classifications of music with the evolving definitions shaped by contemporary voices.
The exhibition, titled "Harmonies Unbound," was his ambitious attempt to challenge the rigid genre structures in music. It featured compositions and performances by musicians who defied genre norms and ventured into uncharted musical territories. Among them was an emerging composer, Noah, whose compositions blurred the boundaries between classical and electronic music, inviting audiences to explore new soundscapes.
A central piece of the exhibition was an interactive sound installation, an auditory journey that seamlessly merged different musical styles. It demonstrated how innovation could expand the boundaries of musical fine art, offering visitors an immersive experience that challenged their preconceptions about genre.
As guests explored "Harmonies Unbound," they found themselves engaged in animated conversations about the essence of musical fine art. Some spoke of the emotional connections they felt with certain compositions- while others marveled at the fusion of diverse musical traditions. These discussions were a microcosm of the larger debate surrounding musical fine art, echoing the conversations happening in the music world and online.
Among the attendees was an experienced music historian who had dedicated his life to studying the history of musical fine art. He, too, recognized the changing landscape of music and welcomed the opportunity to engage with the younger generation of composers and music enthusiasts. The exchanges were enlightening for all involved, highlighting the dynamic nature of musical fine art's definition.
However, as the exhibition reached its climax, an unexpected event occurred. A traditionalist critic attending the event expressed disdain for the fusion of musical styles, dismissing it as a departure from the purity of established genres. This sparked a heated debate among the attendees, pitting tradition against innovation.
The curator found himself in the midst of this passionate argument, torn between preserving tradition and embracing change. It was a pivotal moment that forced him to confront the complex nature of musical fine art and its ever-evolving definition.
In the end, the curator realized that the beauty of musical fine art lay in its ability to transcend genre boundaries, to challenge conventions, and to evoke emotions that transcended classification. "Harmonies Unbound" became a symbol of his commitment to fostering dialogue and inclusivity within the world of musical fine art. It was a testament to his realization that the definition of musical fine art was not static but an ever-evolving tapestry woven by the contributions of composers, musicians, scholars, and the public.
As "The Gallery" continued to be a space for exploration and conversation, it stood as a reminder that musical fine art was not about adhering to rigid genre classifications but a reflection of the diverse and dynamic world in which it thrived, where the boundaries of musical expression were continually pushed and redefined.
“The Gallery” continued to be a space for exploration.
The curator of "The Gallery" was a visionary who believed that music, like visual art, should reflect a diverse range of perspectives. He drew inspiration from online conversations that debated the rigid genre classification structure within the music world. These discussions explored the idea that music should not be confined by narrow genre definitions, and that its classification should not be determined solely by traditional music establishments.
One evening, as the curator prepared for an upcoming exhibition, he found himself deeply immersed in these debates. He realized that he had the power to curate an institution that defined what musical fine art was for the public. This realization weighed heavily on him. He understood that he held a unique responsibility, one that required balance. Balancing the traditional genre classifications of music with the evolving definitions shaped by contemporary voices.
The exhibition, titled "Harmonies Unbound," was his ambitious attempt to challenge the rigid genre structures in music. It featured compositions and performances by musicians who defied genre norms and ventured into uncharted musical territories. Among them was an emerging composer, Noah, whose compositions blurred the boundaries between classical and electronic music, inviting audiences to explore new soundscapes.
A central piece of the exhibition was an interactive sound installation, an auditory journey that seamlessly merged different musical styles. It demonstrated how innovation could expand the boundaries of musical fine art, offering visitors an immersive experience that challenged their preconceptions about genre.
As guests explored "Harmonies Unbound," they found themselves engaged in animated conversations about the essence of musical fine art. Some spoke of the emotional connections they felt with certain compositions- while others marveled at the fusion of diverse musical traditions. These discussions were a microcosm of the larger debate surrounding musical fine art, echoing the conversations happening in the music world and online.
Among the attendees was an experienced music historian who had dedicated his life to studying the history of musical fine art. He, too, recognized the changing landscape of music and welcomed the opportunity to engage with the younger generation of composers and music enthusiasts. The exchanges were enlightening for all involved, highlighting the dynamic nature of musical fine art's definition.
However, as the exhibition reached its climax, an unexpected event occurred. A traditionalist critic attending the event expressed disdain for the fusion of musical styles, dismissing it as a departure from the purity of established genres. This sparked a heated debate among the attendees, pitting tradition against innovation.
The curator found himself in the midst of this passionate argument, torn between preserving tradition and embracing change. It was a pivotal moment that forced him to confront the complex nature of musical fine art and its ever-evolving definition.
In the end, the curator realized that the beauty of musical fine art lay in its ability to transcend genre boundaries, to challenge conventions, and to evoke emotions that transcended classification. "Harmonies Unbound" became a symbol of his commitment to fostering dialogue and inclusivity within the world of musical fine art. It was a testament to his realization that the definition of musical fine art was not static but an ever-evolving tapestry woven by the contributions of composers, musicians, scholars, and the public.
As "The Gallery" continued to be a space for exploration and conversation, it stood as a reminder that musical fine art was not about adhering to rigid genre classifications but a reflection of the diverse and dynamic world in which it thrived, where the boundaries of musical expression were continually pushed and redefined.
“The Gallery” continued to be a space for exploration.
Released October 15th, 2023