Genresis I, II, & 3

Genresis represents the concept of Genre Synthesis and Genre Genesis. Genresis is a three-part sonic narrative scored with various musical genres to explore various concepts through a nonlinear journey of music history and how sound art has developed alongside humans. The intent of this piece is for the listener to connect with this sound art composition on a personal level and think critically of what is music, it's classifications, and why the organization of sounds bring people together. People have various musical preferences, different views on musical genres, and come with their lifetime of personal experiences with interacting with sound and music. The intent of this exploration of audio is not to impart a particular critique unto the listener, but to make the listener think.

Genresis I is the exposition that introduces the audio story to the listener and sets the scene for further plot development. The goal of this project is to synthesize traditional acoustic instruments with electronically generated sounds and to tell a nonlinear and abridged story of music- spanning several genres. This story is underscored with a dynamic and responsive score that, when combined, creates a narrative connecting organic music and an AI generated voice. This juxtaposition is meant to highlight the evolution of music alongside human existence from the perspective of an AI analyzing music’s connection to the origin of humans. Incorporating different genres at different moments in time as well as explaining the history of musical progression demonstrates the composer's unique compositional ability and storytelling nature. The composition's synthesis of technology and music history told through a nonlinear fashion demonstrates how different musical genres works as a medium to tell a story. The questions implied are: Why does music exist, and how is sound organized progression alongside human development? The composition aims to synthesize acoustic recordings of different genres and merge with experimental and electronic music to deliver the audio narrative.

This story is narrated by an artificial voice with a script generated in part with the use of AI. Genresis I used responses from ChatGPT in part to explain what music was to humans. ChatGPT was asked about the importance of music in human lives throughout time. Music is a common language built of organized sounds that have been developing since the origin of humankind. Music can provide examples of what it means to be human and that concept being discussed with an AI can illuminate how foreign and sterile the concept of music is to a machine. The music composed for this project highlights the boundless expression that music is.

This composition begins with a choir performing music inspired by Gregorian chant. Gregorian chant is a specific type of musical expression that is named after Pope Gregory the 1st (590 - 604 AD). The choice to begin with this is due in-part as this is one of the most ancient forms of music recorded in western musical history. Metaphorically and conceptually the listener begins this audio narrative of music and how humans interact within this medium with the origin of western music. This part transitions into an orchestral swell and into a new electronic musical genre that talks about how humans use music recreationally. Just as western music progressed from church choirs, to orchestra chambers, and to the bedroom- humans take music with us everywhere we go.

The orchestral swell immediately after the chant is a sample of a recording produced by the composer of this piece, performed by the Spring 2023 Illinois State University Wind Symphony for the original composition D.U.N.E.; written by Noah Marney. This was recorded inside of Illinois State University’s Center of Performing Arts May 5th,2023.

It is in this electronic musical development that music is shown to go from a spiritual choir to secularistic synth pop choir. It is then enhanced with an electric guitar slide solo blending the story and the music together until an inorganic swell of digital 8-bit video game music merges together the development and origin of digital music, driving the progression of the story. The slightly out of tune vocals is to make the listener think- "is what I am listening to out of tune?". Music is rife with repetition. If repeated enough- even out of tune melodies or random sounds can be organized by humans to create a sonic groove that can get stuck in heads.

The unique ability of musical cultural expression is heard near the end of Genresis I, when the omniscient narrator highlights that the expression of different genres are representative of the different people that inhabit planet earth. We hear the eastern-asian influenced melody present itself as representation of this. Genresis I culminates with a dissonant eerie choir summarizing the elements presented in this story so far.

It concludes with the choir singing a chord that does not feel resolved. This is representative of the continually evolving story of music alongside human progress painted by the diverse and evolving human mind.

The aim of this sonic narrative 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 a twelve-tone serialism piece that is augmented by harmonic backing. Often many music majors are taught 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. Often it is told that 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. This generates an air of elitism when determining what music should be considered as fine art. This portion of the music was generated by using several formulas to create rhythms and a 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 by organizing sounds rhythmically and melodically. Visual art does the same, so why should music by viewed different? 

In Genresis III, the AI narrator sounds human and almost not detectable that it is generated. Genresis III is the most organic and natural sounding of the three parts of Genresis and is noticeably voiced by a female AI. This change in narrator is meant to make Genresis III the most inviting and comforting installment. This decision to progressively change the narrator’s artificialness from maximum to undetectable captures the real time evolution of the progress AI is making as well as symbolizing our growing acceptance of this technology in our everyday lives.

This composition starts with a familiar instrument- an acoustic 12 string guitar. When the drums and bass join into the audio story, the music invites the listener to be taken away by the current of where music is taking us. Music is the sonic mirror of society. Music dismantles barriers, both as a reaction to our society and is a catalyst to ignite a generation to act. The profound power of music to act as both an agent of change and a bridge between worlds is ascribed to no other art. Music invites the listener to interact with the art either in nodding a foot or singing along to a chorus.

With such a diverse range of genres, the listener is shown how music captures the human experience like none other. Cultures can cherish their unique forms of music and instruments made within their cultural history.

There are dangers though. Just as music can be used as a catalyst for change, it can be harnessed by those with ill intentions. The use of eerie sounding electronic music amplifies this feeling of unease. Music can be used to adopt cultures into a collective assimilated bundle of melodies packaged for commercial gain for a targeted audience. Music becomes boiled down to songwriting formulas and loses track of the intrinsic power of itself.

What music is uniquely capable of doing is transporting the listener into a story never before experienced. Greater empathy can be gained through listening to the struggles of a person singing their heart out.

To represent the power of organized sound that music conveys, Genresis III ends with a rendition of Sonata in A Maj. written by Dominic Scarlatti around the year 1775. This recording sample is performed by Alister Smith, the composer's first guitar instructor and musical mentor. Alister is a classical guitar instructor at Illinois Wesleyan University. This recording of Sonata in A Maj. was recorded December 22nd, 2022 at Illinois State University’s Center of Visual Arts. The decision to end Genresis with this organic performance is both a reference composer's origin story and a statement in which music is cyclical. What started out as an organization of sounds became such a personal preference that reverberates through society. Music is constantly being recycled. What humans do with the recycling of notes, rhythms, and chords is remarkable. The continuing synthesis of musical genres with digital and acoustic instruments guides our understanding of what it is to use music as a medium of art.

Genresis is a statement in which sound is more than just sensory information gathered by ears. Humans have organized sound into a structure known as music.