Michelle is a composer and sound artist whose electroacoustic works focus on live processing and sample-based studio production. Through the use of extended techniques and computer processes, her works explore texture and how immersive sound worlds are created. She is also interested in forming new ways to think about sound and music with current and upcoming technologies. At Monash University, Michelle studies Music Composition, and is part of a collective of music students that organises Future Creatives Festival, a concert of new student works each year. As part of Wholegrain Ears, she also creates interactive audio-visual installations which have been featured at several music festivals and events in Victoria and Tasmania. She has also written for Vortex Ensemble and the Argonaut string quartet, as well as having work played at Tilde New Music and Sound Art Festival and at the Bendigo International Festival of Exploratory Music.
Composer website: Michelle Nguyen – Soundcloud
Cobralingus art run 1, for flute, violin, and electronics.
An application of audio processes to a musical work, via literary language. The Metamorphiction process applies the techniques of electronic dance music to the production of words, dissolving language. In this mutated, liquid state, words are manipulated into new forms; borrowed text is sampled and transformed. “The Cobralingus Engine allows the user to manipulate language into new shapes and new meanings. The device takes an inlet text as a starting point, which is then processed to create another text entirely, known as the outlet. This outlet text can be seen as the ghost, or the unconscious desire, haunting the original text.” – Jeff Noon
Jassa Joint, for electronics.
A sample based experiment on manipulating everyday sounds into musical objects.
Featured in Radiophonic Waves (March 2018).