YAMAGUCHI Shoto (Japan)
Born on July 21, 1996 in Nagoya, Aichi Prefecture. Entered Nagoya Gakugei University in 2015.
After that, he will develop his knowledge and curiosity about creations by touching on video and audio works. At this time, he began to experience the sound and lighting of the theater and gained experience behind the scenes. When he was in his third year at university, he announced “The Forgotten City”, which expresses scenes described in novels with sound.
This work is an acoustic performance work that aims to make a scene imagine by sound, just as a novel imagines a scene by text. The novel is a work in which Yamaguchi draws inspiration from his dreams and uses everyday kitchen utensils, furniture, musical instruments, etc., and processes and processes the sound using acoustic programming software MAX.
At the age of four, he made use of the composition he had begun studying at university and participated in ‘Theatrical Company fooork’ and ‘Theatrical Company Gochanpon’ as sound. The troupe fooork “Uniades” won the 7th Nagoya Student Theater Festival Participating Group, Audience Award, Judge Award and Grand Prize, and entered the National Student Theater Festival. As an individual, he received the Encouragement Award in the staff section.
At the same time, in his graduation production, he released a sound processing work based on a recital drama “Beyond the Spiral Rule Gate”. This work recites a story written inspired by the dream that Yamaguchi himself saw and wrote the sound emitted from the original musical instrument “Cymbalapos Cymbalnia” based on the original musical instrument “Analapos” devised by Akio Suzuki. This is a work that picks up with a microphone and processes and processes the sound with Pure Data, an acoustic programming software.
2018 Nagoya Student Theater Festival Staff Division Encouragement Award
21st Century Outsider
Everyday is the same, with a slight change. In other words, chance is always happening. It’s not just photos and videos that contain this coincidence. If it is a recorder, it can be recorded as sound. It is field recording and music concrete that sublimate into an acoustic work that captures the continual coincidence.
We listen to the sounds of everyday life that we don’t care about.Music using noise etc. has been made even in commercial music, and it is not the case that such a tendency is strengthening. The Internet is selling processed noise sources. This means that you can make special sounds without listening to everyday sounds. As a result, the noises have become more of an out-of-office person.
In modern times, it can be said that in composition, chance is completely eliminated. What comes to mind by chance is an abrupt flash.
When composing, I often capture accidental inspiration. However, they are intuition, inspiration, and a kind of technology born from experience. Unintentional sounds picked up by chance are, as the word implies, sounds picked up by pure accidental, unrelated to technology. For example, noise that touches a microphone during recording. These are originally excluded as unnecessary, but if they are included in the work without being excluded, improvisation can be found in the creation.
Therefore, when recording, simply determine the sound that you want to record and record that sound. Even if you touch the recorder, or if you record a sound you don’t want to record, you won’t stop riding. I also took in sounds that were accidentally recorded into my work. It is impossible to capture the sound and reproduce it in the same way by incorporating the elements of performance by creating it together with evenness. This is the attraction of field recording and the appeal of concrete music, and this coincidence does not exist in recorded commercial music. Some of the music created by chance is close to the appeal of performances, and I incorporated them into my work.
Coincidental and everyday sounds, which can be called outsiders in commercial music, were created based on the idea that this work should be accepted.