Interaction is what I believe makes sound beautiful, and organisation is what makes sound music.

While my first interest in sound art began in the back of my parent’s car listening to the Cramps, the Beatles, and John Coltrane, it developed into a drive to learn more about the sound design and composition behind both film and television.

Throughout my high school career in Los Angeles I spent most of my extra-curricular time either in my room practicing saxophone or attempting subpar Led Zeppelin covers with my friends Lucas and Matteo. As soon as covid confined us to the vastness of our bedrooms I quickly developed a greater addiction for practicing guitar, veering away from the saxophone; which had made up my entire musical perspective before. Waking up, practicing, writing, recording, eating, then sleeping again became my routine from that point forward.

I found comfort in recording; it was the more rewarding way for me to practice. Learning how to layer multiple guitars, groove with percussion and bass rhythms, and attempting to record an entire drum kit in my already crowded room was how I paid tribute to the legends that shaped my love and passion for sound. Since, I have released four EPs and one album, which I dedicate to the family members that had to put up with all of the noise. There are (exaggerated) also hundreds of recordings that are still on my old laptop (which I should probably back up).

Following that initial growth in music, I have always made the point to push myself and to be exposed to as much as possible in as many different fields I have access to. Temporarily working and hanging out in some small studios of family friends was a nice starting point. However, after getting the inspiring opportunity to shadow with Joseph Trapanese’s team in Santa Monica as they constructed the vast score behind Netflix’s “The Witcher” I figured out the role sound plays in my life, both personally and professionally.

(A friend named Lucas and I recording one of my songs, “Golden Beat”, in Tim Moore’s Highland Park Studio in summer 2022. Video Credit: James Terrazas).

(Uncle Matt and I playing a gig at the very “lovely” Old Town Pub. Photo Credit: Victor Paz).

All thumbs are fingers but not all fingers are thumbs; nevertheless, all music is sound art but not all sound art is music.

Right now I choose to define sound art as the creation or refinement of a noise, melody, arrangement, instrument, soundscape, or dialogue that is meant to evoke a specific or personal emotion from an individual or audience. Sound art can be presented through song, installation, sound design, or even nature. The possibilities within sound art from my knowledge seem to be both limitless and undefinable. Anything that is meant to be listened to is sound art.

Another thought that correlates to what defines sound art is what defines music. Alongside my current view of sound art, I believe music is simply sound that is organised by human intelligence; intervals, time, and arrangements. Music can also be correlated to a story or something that is organised in order to convey an idea or specifc emotion. The line between sound art and music seems to be thin, however, I believe it is important to make an effort to avoid defining either concept with too many rules or restrictions.

In spite of my premature definition, I hope that my view and perspective on sound art is questioned and developed in this course through practice, collaboration, and discussion.

(Despite the simplicity of the definition above, here is an image of a machine that can make relatively complex sounds. One of John Frusciante’s modular synth rigs. Photo Credit: Ryan Hewitt).