Section 2 of Land of the Sirens reinterprets aspects of section 1 through the evocation of new soundworlds and soundworlds which reappear as leit-motifs, bringing to the work a sense of identity within each section and coherency as a whole. The primary sound types are: floghera textures, slippery/dinging micro-elements, elements of water, unprocessed dry wood crackling sounds, bell sounds, pitched drops, beeping sounds, transformed church organ sounds, and repetitive dry pointillistic ticking26 sound textures in rapid motion. Of note, original water sounds that I recorded in Entwistle Reservoir play a more significant role in section 2 and a highly contrasting part contains transformed sounds of a traditional Greek instrument called floghera (a traditional wind instrument that belongs to the Hellenic pastoral music instruments and has its origin in an ancient Greek instrument called syrighx, which originates back to the classical period). The floghera material was developed using the BEAST Tools Clatter module – followed by a stereo down-mix in REAPER27 – and was subsequently transposed in wide ranges of pitch using MAGIX Sound Forge.
In contrast to section 1, section 2 did not follow the [A – B – A] repetitive structure (where [A] was formed of transformed watery/branch sound subsections, repetitively fading in/out among abstract reverberant subsections [B]). Section 2 was developed in a non-repetitive way, where materials from each subsection were rarely reused in different subsections, and even if they were utilized, they didn’t make their appearance/disappearance in regular time intervals, as opposed to section 1. The beeping – sounds were reused for the epilogue of the work.
The characteristic behaviours of sonic and musical materials in section 2 are detailed (with examples) as follows:
1. Dissipation (disintegrating/dilution/dispersing) 17:08 and 22:56 – 23:01.
2. Harmonicity (harmonic sound textures) 24:53 – 25:20. Background piano sound textures in A minor.
3. Endogeny (smooth growing from the inside) 26:14 – 26:22. Transformed church organ textures using delay effects resulting in 3rd order surrogacy.
4. Flocking (collective motion of ‘slippery/dinging’ microelements) 16:54 – 17:00 and 23:32 – 23:50.
5. Emptiness (spectral gaps) 18:07 – 18:20.
6. Plenitude (filled spectral space) 25:47 – 26:12.
7. Insertion of smooth pointillistic background sound objects 24:44 – 24:50.
8. Pressured Onsets 15:38 – 15:46, 15:53, 15:59, 16:01 and 24:12 – 24:28 (tree branches).
9. Flow (Emergence as if the motion has always existed) 12:04 – 12:12 and 24:54 – 25:22.
10. Contraction (becoming smaller) 11:53 – 12:07.
11. Pointillistic textures 15:11 – 15:29, 15:47 – 15:58 (dry wood) and 25:37 – 25:42
12. Cyclic motion 15:29 – 15:36 (dry wood branches) and 24:51 – 25:00
26Semi-rapid motion of dry microelements characterized by brief and semi-aggressive throw onset/attacks.
27Cockos Incorporated. REAPER | Audio Production Without Limits. [online]. Available from: http://reaper.fm/ [Accessed: 17 May 2017].