Click the thumbnails below to see selections of my work!

My soundscape of the underworld in Eurydice by Sarah Ruhl is a culmination of sampled material as well as a self evolving synthesizer patch. The group of collaborative designers in our seminar class leaned heavily into the water motif. This resulted in the a soundscape of mangled trickling water and traveling water from the usage of toilets back on Earth.
This is a sample of the transition between scenes 2.1 and 2.2. In this process I wanted to discover what makes the underworld different, or mirrored, of the plane of existence of ‘life’ in the play. After a deep dive of researching the setting of the play, I was able to source sounds of wildlife that can be found in Southern Louisiana. I found this transition was a good time to draw a sonic line between both planes, mangling dripping water and frequency shifting the sample to resemble birds chirping while fading up the sound of the Carolina Wren and Tufted Titmouse.

The sonic representation of Eurydice falling down and passing over to the underworld as well as the moments before. While she is being intimidated by the Interesting Man, “musty dripping sounds” fill the air, getting more intense as the Man reveals more evil. As she escapes his clutches, the sounds of death fade out. She trips to the sound of a water drop in blackout, then the clatter starts. Taking instruments (supposedly)on the Brazilian jazz record the Interesting Man put on earlier in the scene, a huge mass of instruments clunks and bangs with metallic grit. Eurydice takes her last breaths amongst the sound of screaming instruments to close out the first movement.