aasthakumariyer

[aasthakumariyer]

Practical Coursework Journal (Reflection Journal) - Year 3 Final Semester

Week 2:

Last week marked the beginning of the second semester of my third year, and it was pivotal in shaping my journey toward the final recital performance. This second week started off with Sara's class and I delved into a thorough vocal warm-up routine, which helped warm up my voice and also go over the vocal techniques again. 

After the vocal warm-up, Sara outlined the requirements for the recital performance. She urged me to assemble a band and commence the process of selecting songs for the repertoire. Thankfully, during the winter break, I worked on making new songs, in addition to retaining four songs from the previous semester.

As Sara and I discussed the potential setlist, I found myself leaning towards utilizing the songs that I sang last semester alongside the newer compositions I had been refining. However, I felt a bit uncertain about the recently created songs. I spoke to Sara about my intention to think it through and also what to see the new songs I come up with over this semester.

This juncture served as a moment of reflection, where I want to make sure that each song conveys my artistic expression. I wanted to remain open to exploration and want to have a good recital performance.

Week 3: After my initial session with Sara, I reached out to my bandmates to confirm their availability for the upcoming performance. Meanwhile, I began brainstorming new ideas for songs.

My songwriting process typically starts with thinking about a theme or emotion I want to talk about before writing my lyrics and composing music. So often, inspiration strikes while watching TV shows—whether it's a character's dialogue, a scene, or even just the title of the show. As I get ideas from TV shows I ensure that the ideas I choose resonate with me personally, as it's crucial for me to feel connected to the lyrics I write.

In my second year, I found myself putting a lot of pressure on myself when it came to songwriting, which affected my confidence to sing on stage. However, over the winter break, I dedicated time to learning and practicing, and I've noticed a significant improvement. Now songwriting has become more enjoyable, and ideas now flow naturally without feeling forced.

During our second session, I shared a couple of new songs with Sara, "Worth the Wait" and "This Way." Her feedback was encouraging—she appreciated my songwriting style and the direction my music was taking. Her words validated my identity as an artist and gave me the confidence to explore songwriting further.

Through this process of discussing my new songs, I had a brief conversation with Sara through which I learned an important lesson during this session: the value of taking feedback selectively. While Sara's comments were useful, I realized that ultimately, it's up to me to decide how I want my songs to sound. This was a new concept for me, as I've always been accustomed to incorporating every piece of feedback or comment I receive. Learning to trust my instincts and make decisions that align with my artistic vision was more important. It's a new skill I'm eager to develop further as I continue to grow as a musician.

Week 4:

During this week's session, I started with my vocal warm-ups as usual. Sara then asked me to bring in some songs I wanted to work on together to refine my vocal techniques. It's been quite a journey for me to grasp these techniques, especially since I come from a background in Indian Classical music. It wasn't until my summer break in 2023 that I really began to understand them fully. That's why I make it a point to do Monday's personal practice of vocal warm-ups in class with her to ensure I'm on the right track.

Sara has been incredibly supportive and patient throughout this process. She truly understands me as a student, and I'm grateful for her guidance in teaching me vocal techniques that I can also apply to my Indian Classical training.

During today's session, I shared with Sara a Hindi song I've been practicing at home called "Sau Aasmaan." Additionally, she asked me to revisit another Hindi song, "Raabta," which I hadn't felt confident about in the past. I used to struggle with it a lot, and it was a song I tried to avoid because of that. But today, I approached it with a different mindset. I realized that avoiding a song won't help me improve—it's better to face it head-on and work through the challenges.

Link for Sau Aasmaan:

Link for Raabta (female version):

With Sara's guidance, I sang both songs with karaoke tracks, and I was pleasantly surprised. "Raabta," which used to be a struggle, felt much easier this time. Having a better grasp of vocal techniques made a significant difference. While there were still areas to improve upon, it was clear that my efforts in mastering the techniques were paying off. This session served as a reminder of the importance of facing challenges rather than avoiding them. It was a valuable opportunity to apply what I've been learning and receive immediate feedback on my progress.

Week 5:

By this week, I had added a few more new songs to my repertoire, including "Worth the Wait" and "This Way," which I performed at the Friday pop workshop. Interestingly, while "Worth the Wait" felt solid, "This Way" left me feeling a bit uncertain due to its unconventional structure. Recognizing this, I decided to make new songs that better aligned with my vision.

"Worth the Wait" is about learning to understand that through waiting you can get the best and learn to wait and pray for love.

"This Way" is about me being an introverted person. My reference song for this song was a song from the Netflix movie "Purple Hearts" and the song was "Feel It Still" by Sophie Carson.

Link to Feel it Still:

I shared the video of my Friday performance with Sara, seeking her feedback. After some discussion and reflection, I made the decision to include "Worth the Wait" in my setlist. Additionally, I introduced Sara to my latest creation, "Dancing under the Moonlight," a song that deviated from my usual style but still was very close to my writing style. My inspiration sparked after coming across a picture of the autumn season when I stumbled upon a captivating image. In the picture, the road was blanketed with vibrant autumn leaves, illuminated by the soft glow of streetlights. That scene sparked an idea in my mind: a tender moment where a girl dances with her love beneath the flickering light of a streetlamp on a crisp autumn night. My vocal style for this song was completely different and the inspiration for the vocal style was the Korean song "Villan" by Stella Jang.

Link of the song Villian:

Sara's encouragement and support were invaluable—she expressed genuine happiness at witnessing my growth both vocally and in my songwriting journey over the past few months.

I explained to Sara my intention to incorporate "Dancing under the Moonlight" into my setlist, recognizing its unique contribution to showcasing my artistic evolution. Sara's guidance has consistently pushed me to strive for excellence. Through my years at Lasalle and under Sara’s guidance, I've come to realize the importance of embracing feedback and criticism. In the past, I was hesitant to accept critique and wasn't very open-minded about getting feedback from anyone fearing it would impede my progress. However, through experiences like performing at Lasalle's Friday performances, I've learned to view criticism as a catalyst for growth. Each instance of feedback, whether positive or constructive, represents a step forward in my journey as an artist, helping me understand my strengths and weaknesses more deeply. It's a journey of self-acceptance and continuous improvement that I'm grateful to be on.

Week 6:

Over the weekend, I started working on a new song called "Day Dreamer," which I shared with Sara during our session this week.

The reference for this song was a Turkish drama romantic-comedy drama called "Erkenci Kuş" which translates to Day Dreamer, I kind of used that idea and made this song. This song is about a girl just daydreaming about the person she loves. For my song, the first half of the song refers to the Turkish drama and the second refers to a Chinese drama called "Amidst the Snowstorm of Love" which is a romantic and sports drama.

Her feedback was positive overall, but she pointed out some things that could be changed like in the tune of the second verse compared to the first. She suggested making some adjustments to ensure consistency and enhance the memorability of the melody for both verses. 

Taking Sara's advice, after class I revisited the second verse and made some changes. I kept the chords and melody the same for the first half but introduced some variations to bring freshness to the song. This change not only addressed Sara's feedback but also added depth to the composition, especially since the song lacked a bridge.

Later in the week, I had the opportunity to perform "Day Dreamer" at the Friday Pop workshop. The reception was fantastic, with everyone enjoying the catchy chorus and praising the songwriting. It was encouraging to receive such positive feedback, not only for this song but for all the songs I've been working on recently.

Throughout this process, I've learned to balance hard work and enjoyment in songwriting. It's essential to put in the effort to learn and practice, but equally important is to maintain a sense of enjoyment and avoid putting unnecessary pressure on myself. I've noticed that when I approach songwriting with joy and passion, it reflects in the final product—there's a certain energy and authenticity that shines through in the lyrics. It's a lesson I carry with me each time I embark on a new songwriting journey.

Week 7:

This week, I finally solidified my band lineup. It took some time, especially with the drummer situation, but I managed to find a replacement who could commit to playing with us. The process of reaching out to potential band members was quite stressful for me, highlighting the importance of having a network of contacts in the music industry. It's clear to me now how valuable those connections can be in times of need.

Once the band was finalized, I communicated with each member to coordinate rehearsal dates that suited everyone's availability. After some discussion, we settled on scheduling our rehearsals for Fridays from 6:30 pm to 8:30 pm. This allowed us to secure a practice room and ensure everyone could attend without any conflicts.

With the rehearsal schedule in place, I turned my attention to finalizing the setlist. After careful consideration, I made my decisions and shared the song drafts with the band. Providing them with access to the songs beforehand allowed everyone to familiarize themselves with the material, ensuring a productive rehearsal session.

Reflecting on the week's activities, I've learned the importance of effective communication and organization when managing a band. By staying proactive and keeping everyone informed. 

Week 8:

This week, most classes were put on hold for project week, but I still had a session with Sara. Since there was one class from last semester that hadn't been used, Sara suggested we could either have a recital rehearsal or focus on vocal warm-ups. So I worked on vocal warms. During my personal practice, I started working on all my songs for the recital so that I remember the lyrics for the performance. 

This week, I had my panel presentation, and I was pleasantly surprised by how much smoother the feedback session went compared to last semester. It was a huge relief to hear that my work was clear and well-defined.

The main suggestion I received was to ensure that my topic, "Hindu devotional music and its effects on the human mind," can be understood by someone who isn't familiar with Hinduism. Additionally, I was advised to present my points as objectively as possible. These insights will help me refine my work and make it more accessible to a broader audience.

Week 9:

This week, I focused on refining my rock song "Teen Days," which is part of my recital setlist. I've been stuck with this song since the winter break, often feeling stuck and unsure of how to proceed. After some searching, I thought I found a helpful reference song which was a J-pop song "Damn" by Fujii Kaze, but it didn't quite fit the band setup or the vibe I wanted. However, during Thursday's pop workshop rehearsal, I stumbled upon another rock song which is a Hindi Bollywood song called "Pichle Saat Dinon Mein" which had the right feel and setup, which proved to be a great source of inspiration.

The song references links: 1. "Damn" by Fujii Kaze -

2. "Pichle Saat Dinon Mein" from the movie Rock On -

During the Friday pop workshop, I performed "Teen Days" and received constructive criticism that could enhance the song. Admittedly, rock isn't my usual style, and I've noticed myself straining my voice to match the intensity I think the genre requires. Taking these comments into account, I began exploring other rock songs to better understand the genre.

During this exploration, I revisited a song my father and his cousins had composed in their mid-20s. Over the winter break, I heard the original version and felt inspired to remake it, tweaking chords and lyrics to improve its flow. This week, I worked on a draft of the song and received positive feedback from my family. I also sought Sara's opinion, who appreciated the simplicity of the song but noted that the lyrics didn't quite align with my usual style—a point I agreed with. Since this isn't my original song, I aim to maintain its authenticity while enhancing certain aspects to elevate it.

After carefully making my songs and understanding the different styles I have written in and worked around, I plan to continue exploring these styles even more and understanding how they fit into English pop music writing. I'm also eager to delve into writing more in Hindi, and I aim to incorporate elements of pop and Indian vocal styles into my music. It's a journey of self-discovery and artistic exploration that I'm excited to embark on.

Week 10:

During this week, I scheduled my first band rehearsal for Friday, so during Monday's session with Sara, we went through my song list together and got all my chord charts corrected. I wanted to make sure the chord charts for the band were clear and easy to understand. It was important for me that the band members could grasp the songs properly. Sara suggested starting the rehearsal with the three old songs from last semester which were "Live the Fullest", "Tere Sang" and "Hopeless Romantic" to refresh our memories before diving into the four new ones. Surprisingly, during the rehearsal, we managed to go through five songs smoothly. Despite having a new drummer in the band, everyone adapted quickly and played their parts well. For the new songs, like "Worth the Wait," which had only been recorded acoustically before, I closely worked with the band to see how they would sound in a full setup. I felt confident in the outcome, knowing that each member of the band was skilled in their instrument.

I made sure to listen to their suggestions and ideas during the rehearsal, and understanding that this was an opportunity for me to learn and grow before stepping into the music industry. Over the past three years at Lasalle, I've had the chance to work with students from various musical backgrounds. This experience taught me the importance of clear communication within a band. When everyone understands their roles and communicates effectively, the result is a cohesive performance that reflects the vision of the song. I've also learned the importance of voicing my opinions and ideas within the band. If I'm not comfortable with a certain aspect of the music, it's essential to speak up. This ensures that I enjoy singing the song and that the performance truly represents me as an artist.

Being in an environment surrounded by talented individuals has undoubtedly helped me grow artistically. Each interaction and collaboration has contributed to my development, shaping me into a more confident and communicative musician.

Week 11:

This week, I arranged the second band rehearsal, focusing on working on the last two songs in my setlist: "Dancing under the Moonlight" and "Day Dreamer." During my Monday session with Sara, we went over the chord charts for these songs, making necessary changes and corrections to ensure clarity. Unfortunately, the drummer couldn't make it to the rehearsal, so we worked on a rough draft of the songs and recorded our progress. I then shared the recordings with the drummer to give him an idea of the song structures and the tone we were aiming for in each piece.

Despite the absence of our drummer, the rehearsal proceeded smoothly. We managed to work through the songs effectively, and they were beginning to take shape just as I had envisioned. It was a satisfying experience to see everything coming together, and I felt optimistic about our progress.

Reflecting on the rehearsal, I realized the importance of adaptability and teamwork in a band setting. Despite facing a challenge, we found a solution and continued to make progress toward our goal.

Week 12:

Today was a busy day as Sara graciously accommodated two sessions to assist me with my 3rd recital rehearsal. I had requested some extra time during our usual session for vocal warm-ups and practice.

During our regular session time, we focused on vocal warm-ups and improvising out the tricky parts of some songs where I had been struggling. It was a productive session, and I felt more confident in those challenging sections afterward.

Then came the rehearsal with Sara observing for an hour. With my band, we started by tackling the songs that posed vocal challenges. Sara provided feedback not only on my vocals but also on areas where the band could enhance their performance. Her insights were invaluable and helped us refine the songs further.

Once Sara left, with the band I went through the remaining songs. While there were still some areas where the band could practice a bit more, overall, it felt like we were on the right track. Reflecting on the day's rehearsals, I appreciate Sara's guidance and the opportunity to fine-tune our songs. Each rehearsal brings us closer to delivering a good performance at the recital.

Week 13:

In today's session with Sara, I felt the need for a vocal reset. Ever since my third rehearsal, I've been experiencing strain while singing. During rehearsals, I tend to push my vocals, singing loudly over the band, which has led to issues with my voice. Sara suggested a change in approach, advising me to refrain from singing excessively during rehearsals. Instead, she emphasized the importance of allowing the band to focus on refining their parts without straining my voice.

After the vocal reset, we concentrated on three specific songs: "Live the Fullest," "Hopeless Romantic," and "Teen Days." These songs hold significance as they are the first three in my setlist and have been causing strain on my vocals. The primary goal of today's session was to regain control and sing these songs with ease.

Through continued practice and Sara's guidance, I worked on singing these songs without exerting unnecessary pressure on my voice. It was a reminder of the importance of prioritizing vocal health in my rehearsals. Moving forward, I'll be mindful of striking the right balance between vocal intensity and preservation, ensuring that I can deliver my best performance while safeguarding my voice.

This week, we had our fourth recital band rehearsal, and the main goal was to run through the songs in the order I had planned for the performance. It turned out to be a successful rehearsal, as all the band members were well-prepared and clear about their parts. Any confusion was resolved.

I’m pleased to say that we accomplished our objective efficiently, wrapping up the rehearsal in just one hour as I had hoped. It was reassuring to see everyone working together seamlessly, and it boosted my confidence in our readiness for the upcoming recital. Reflecting on this rehearsal, it's evident that our hard work and dedication are paying off. Now I current have one final recital rehearsal on 12th April which will be basically to go through all the songs properly and try timing the whole thing so that I am aware of how long it will take. 

As I reached the end of the final week of the Pop workshop, I couldn't help but pause and reflect on the profound growth and learning that have marked my three-year journey at Lasalle. It's been a journey of transformation.

Throughout the first two years, I had the opportunity to explore a multitude of genres, experimenting with different styles and sounds. This exploration was crucial in helping me discover my own unique voice and artistic identity by year three. I'm deeply grateful for this period of exploration, as it laid the foundation for me to truly understand and embrace the style that best suits my vocals.

Moreover, the collaborative nature of the various workshops I have been a part of allowed me to connect with various musicians, each bringing their own expertise and perspective. These collaborations have not only enriched my musical understanding but have also taught me the importance of teamwork and communication in creating music at a professional level.

As I look back on this journey, feel grateful for all the opportunities I've been given and the lessons I've learned. It's been a privilege to immerse myself in the rich language of music and to grow alongside such talented individuals. All these experiences and connections that have shaped me into the artist I am today.

[aasthakumariyer]

Practical Coursework Journal (Reflection Journal) - Year 3 Semester 1

Week 2:

During our initial session, Sara explained to me the requirements of the upcoming recital, prompting me to share the list of songs I had curated for the event. Following this, we delved into a series of vocal warm-ups, during which I noticed a marked improvement in my ability to implement the techniques compared to my progress in the previous year. Despite this positive development, I recognized the need for further refinement in my mid-range, as I occasionally in the process of practice lose confidence which comes from not hitting the correct notes and perfecting the technique.

Gradually, as I became better at applying the vocal techniques, I began to perceive a noticeable transformation in my voice. I found myself feeling more at ease and relaxed, a significant contrast to my earlier experiences. While I remain conscientious about maintaining proper breathing techniques, I have observed considerable progress in this aspect, which has contributed to a more fluid and controlled vocal delivery.

Towards the end of the session, we dedicated time to working on songs that would help enhance my mid-range capabilities. Specifically, I focused on practicing two Hindi songs, allowing me to further refine my vocal prowess in preparation for the recital.

Week 3 and 4:

I missed these sessions as I was a part of the Lasalle Summer School Project - Underwater Cables Project which was held in room C101.

The Underwater Cable summer school was all about a cool thing called Telematic performance. Students from all over the world who were into different arts came together for this 10-day program. We did workshops where we learned stuff like submergence worlding, soundpainting, and non-linear scripting, along with some other fancy media techniques.

Our Singapore group was a mix of students from London, Hong Kong, Tokyo, and Taipei. And get this, we were actually connecting live with students from The Academy of Fine Arts in Trondheim, Norway, and The Zurich University of the Arts in Switzerland. It felt like we were all in the same room even though we were miles apart!

Dr. Tim, who's the head of the School of Contemporary Music at Lasalle College of the Arts in Singapore, led the whole summer program. It was a pretty mind-blowing experience, learning and creating art with people from all over the world, all at the same time.

Week 5:

During our fifth session, Sara and I dedicated our efforts to refining my original songs for the upcoming recital. After narrowing down the selection for the final performance, Sara encouraged me to solidify the participation of all the band members and to establish the rehearsal schedule. With her guidance, I initiated the planning process, aiming to commence rehearsals during the first week of October, allotting a total of four crucial practice sessions.

While discussing the set list for the recital, I expressed my uncertainty about including my Hindi song. I explained to Sara that this particular composition is deeply rooted in Indian Classical music, and I had concerns about achieving the desired outcome with my band's interpretation.

Week 6:

For the 6th session, I worked on my original song as I had done my vocal practice at home.

Week 7:

Participating in the Soundpainting workshop at Lasalle with Walter Thompson this week was a truly eye-opening experience for me. While I was somewhat familiar with the concept of Soundpainting from Dr. Tim's Creative Ensemble class, being immersed in it alongside dancers, musicians, and actors was a whole new adventure.

Witnessing Mr. Walter craft a composition weaving together various art forms with the help of simple hand signs was nothing short of amazing. However, I found myself struggling to contribute during the session. The fear of making mistakes held me back, leaving me uncertain about how to improvise and hesitant to put myself out there.

It was a conversation with a senior student from the master's program at Lasalle that truly shifted my perspective. They emphasized that in improvisation, there's no right or wrong—just the freedom to express oneself in any way one sees fit. This realization was profound for me, as I've always been conditioned to avoid mistakes and stick to the familiar.

Through this workshop, I came to understand that even mistakes or unconventional sounds have a place in music. Embracing this concept has opened up new avenues of creativity and expression for me, allowing me to break free from self-imposed limitations and explore the vast possibilities of improvisation.

Some of the videos and pictures from the workshop:

The whole group, one side were dancers the other side were the actors and at the back were the musicians.

A video of Mr. Walter giving hand signs to the group.

Week 8:

This week, Sara couldn't hold her class due to her work commitments. On top of that, I had my panel presentation, which I believe went decently overall. However, certain aspects weren't as clear to the panel members, and I'll need to revisit them further to bring about clarity in my research proposal.

Despite the stress I felt after the panel presentation, I'm determined to stay calm and methodically work through any areas that need improvement. Clarity is key, and I'm committed to ensuring that my work reflects that.

Week 9:

In our 9th session, my focus was on fine-tuning my Hindi song with Sara, as in certain segments the chords were not flowing properly. Initially, I had reservations about performing the Hindi rendition, but my father's suggestion was to explore a modified version and a bit of pop Hindi kind of feel could be brought about in the song. So I looked up references and showed them to the band and with Sara's help I got some extra chords added. After sharing it with my band members and incorporating their feedback during our second rehearsal, it became apparent, through Carlos's (our guitarist) feedback.

To rectify this, I took Sara's help and together, we had an in-depth discussion on the song's structure. Ultimately, we concluded that transposing the key from B to C would help achieve the desired chord flow. I refined the chord progressions, culminating in a comprehensive half-song draft. Subsequently, I continued working on the song independently and also took some help from Regina. She helped with (from Pop Level 1) suggestions on arrangement.

Regina emphasized the importance of maintaining an ambient musical backdrop, offering important pointers for each individual instrument. Her notes provided a fresh perspective, contributing significantly to the overall refinement of the composition.

Week 10:

During our 10th session, I dedicated time to refining my song for the upcoming half-recital with Sara. Sensing certain areas where my voice wasn't quite finding its place, Sara guided me through a series of vocal warm-ups to ensure my voice was in optimal condition. We then delved into each of the four songs, and Sara provided invaluable feedback for the accompanying band.

Her insights encompassed a range of aspects, from innovative arrangement ideas that could enhance the overall sound to specific suggestions for improving the performance of each instrument. Moreover, she offered valuable guidance on the timing of my breaths and the execution of particular vocal lines, ensuring that each note flowed effortlessly.

Sara's meticulous attention to detail and her expert advice not only improved the musicality of the songs.

Week 11: This week was very busy for me as there were many assignments to complete. Alongside my vocal practice, I dedicated significant time to working on my dissertation research proposal and putting together my portfolio for the Industry and Communication class. It was a busy period, especially considering I had taken part in both the Underwater Cables workshop and the Soundpainting workshop during the first half of the week.

With so much on my plate, it was essential to stay organized and manage my time effectively to ensure everything was completed on schedule. Additionally, I made sure to address all the feedback and comments I received on my research proposal, incorporating insights from both James and the panel's presentation.

Despite the busyness, I found satisfaction in tackling each task with focus and determination. Reflecting on the week's accomplishments, I'm pleased with the progress made across the past few weeks and have been able to balance out my college submission work and the workshops that I have attended.

Week 12 and Week 13:

In both these weeks, my main focus was on practicing vocals for my upcoming half-recital. I spent time refining all four songs, making sure every note and lyric was just right. We also had a rehearsal each week to polish up the songs and ensure the band sounded tight.

During rehearsals, I made it a point to keep track of how long it took to perform each song. This helped us gauge the timing for the final performance and plan accordingly. Overall, I felt really good about how the rehearsals went. I have a lot of trust in my band members—they're all super talented on their respective instruments, which makes working together a breeze. Reflecting on our progress, I feel confident and we're ready for my performance.

[aasthakumariyer]

Advertisement company summer internship (Rummy XL advert)

Day 1: 8th May 2023 

Today marked the commencement of my internship journey as a member of the assistant director team. Upon my arrival, the team lead graciously provided me with an overview of the overarching objectives of the filming project, which centered around creating an advertisement for a Rummy online application. Following this insightful briefing, the team lead entrusted me with the complete storyboard, script, and contextual background of the advertisement, elucidating the intricate nuances of the entire filming process.

To facilitate seamless collaboration, I was furnished with the contact information of all team members, ensuring easy accessibility should the need arise for any form of coordination or assistance. As part of my responsibilities for the day, I assumed the crucial role of meticulously documenting the final wardrobe selections for the actors scheduled to appear in the culminating shoot on the 9th of May. Additionally, I was entrusted with the task of overseeing the line rehearsal, collaborating closely with the director's team in preparation for the upcoming shoot scheduled for the following day.

Day 2: 9th May 2023

Today, was the day of shooting the advertisement. As an integral member of the assistant director's team, my primary responsibility revolved around orchestrating seamless coordination among the entire staff. This involved ensuring the punctuality of all actors, overseeing the timely preparation of the junior artists for their respective scenes, and attending to various other logistical details that is crucial to the smooth running of the production.

During the shoot, I assumed the critical role of recording the number of takes for each scene, meticulously capturing the intricacies of the filming process. This entire experience proved to be an incredibly eye-opening journey for me, as it granted me firsthand insight into the intricate mechanics of filmmaking, a domain that I had never before had the opportunity to explore. Immersed in the pulsating energy of the set, I absorbed invaluable lessons on the significance of diverse shooting angles, meticulous coordination, and the indispensable role of lighting in crafting impactful scenes.

Although the day was quite lengthy, I thoroughly relished every moment of the immersive filming process. I intend to carry these invaluable lessons forward into my future endeavors within the realm of my music career, recognizing the synergies between the two creative domains.

Photos of the advertisement filming process:

10th May 2023 - I was asked not to come to work, so no work was done that day. All the directors sat a worked on making the first cut of the advertisement. 

Day 3: 11th May 2023

Today was a busy day for me as I delved into the intricate realm of sound design as part of my music-related responsibilities. Tasked by the head director, I embarked on a mission to source a variety of reference sound effects to complement the advertisement. I was asked to find various SFX sounds that included the distinctive clinking of coins, the resonant rustle of cash, the rhythmic tapping of a mobile device, the satisfying click of a button, and the subtle yet distinct cadence of heels against a surface.

Amidst the bustling atmosphere of the office, I found myself summoned to support and advise for the audio and musical components of the advertisement. Leveraging the knowledge and skills I had acquired during my college studies in mixing and mastering, I worked on a preliminary phase of the process, conducting a rough mix and mastering of the music. Subsequently, I offered valuable insights and recommendations concerning the editing of the video, particularly with regard to the integration of dialogue. Recognizing the fluctuations in the volume levels throughout the advertisement, I swiftly implemented adjustments to ensure a good experience. With the aid of Logic Pro, I synchronized the sound effects. The SFX sound made some other shots even more realistic.

Day 4: 13th May 2023 

Although my workload was relatively light today, I actively participated in assisting the editors with the third cut of the advertisement. Our collective objective revolved around infusing a greater sense of dynamics and variation into the advertisement, prompting us to meticulously review the unused takes. This immersive exposure to the intricate art of video editing proved to be an invaluable learning experience, offering me profound insights and valuable techniques that I can potentially apply to my own video editing endeavors in the future.

One of the notable concepts that caught my attention was the intricate process of color matching, a technique employed to ensure seamless transitions between different scenes, thereby fostering a cohesive and visually appealing narrative flow. Furthermore, I got insights into the art of discerning and selecting the most compelling takes from the recorded footage, recognizing the significance of these selections in crafting a coherent and impactful visual story.

Day 5: 15th May 2023

Today, our efforts culminated in the development of the final, definitive cut for the Rummy XL advertisement. As we transition into the concluding stages of the project, the team is preparing to synchronize the last phase of music composition and refinement with the final stages of video editing. In parallel, the head supervisor of the assistant director's team entrusted me with a new project, an advertisement for "Deciwood," a renowned music radio or speaker.

Tasked with infusing the advertisement with a captivating and creative musical backdrop, I delved into creative exploration, brainstorming ideas and suggestions that could elevate the impact of the advert. After reviewing the initial cut of the advertisement, I proposed the incorporation of a background music style that would complement the essence of the brand. Considering the nuances of the advertisement, I recommended the inclusion of elements inspired by the rhythmic charm of swing jazz or the enchanting allure of Slow Bossa Nova. Intriguingly, I suggested exploring a minor key rendition, as this tonality has the potential to accentuate the emotive undertones of the advert, thereby enhancing the overall viewer experience.

The entire experience proved to be profoundly enriching, offering me a firsthand glimpse into the intricacies of working on a live creative project alongside seasoned industry professionals. As I navigated through the dynamic and fast-paced landscape of the creative industry, I found myself constantly absorbing a wealth of knowledge and insights. This immersive journey provided me with invaluable lessons that extended beyond the realm of technical skills, encompassing a deeper understanding of collaborative dynamics and the multifaceted nature of creative teamwork.

Admittedly, there were moments of fear, fueled by a sincere desire to meet and exceed the expectations of my colleagues and superiors. However, I was heartened by the unwavering support and patience extended to me by the incredibly supportive team. Their guidance and mentorship played a pivotal role in fostering a conducive environment for my professional growth and development.

While I acknowledge that there is room for improvement and that I could have potentially delivered an even stronger performance, I perceive this inaugural work experience as an invaluable stepping stone in my journey within the industry. It has solidified my passion for engaging in similar projects in the future, reaffirming my unwavering enthusiasm for contributing to the creative process and making a meaningful impact within this dynamic field.

[aasthakumariyer]

R.Nithya Psychology summer internship (May 18th - July 17th)

This internship revolved around collaborating with a therapist to design comprehensive feedback forms aimed at tracking the progress of her clients. The four distinct forms included: an onboarding form for new clients, an onboarding form for the therapist, a client feedback form, and a session evaluation form. Each form served a specific purpose, catering to the unique needs of the therapist-client dynamic.

1. On-boarding for new clients - This form is for all the new clients joining. In this form, the client will have to fill in all the personal details, and other additional information that the therapist will to understand the client's condition (eg: Family history, mental and health history).

2. On-boarding for the therapist - This form is for the therapist to fill in about the new clients. This is because there are some information that is more appropriate for the therapist to write down rather than the client so that the client doesn't feel uncomfortable or feel discomfort.

3. Client feedback form - This form is usually given at the end of the client's session, so the therapist will ask them to fill in this form to see if there is the clients feel like they have improved over the sessions and if the client have anything that they want the therapist to improve in their approach of treatment. Regular feedback for but filled in by the client

4. Session evaluation form - This form is for the therapist to fill out. This allows the note down the therapist's view of the session and see if there is any change in behavior before the session and after the session. Helps the therapist keep track of the client's progress over the number of sessions.

In the initial phase, the therapist provided me with an overview of the project's scope, leveraging my two years of prior study in psychology to facilitate a deeper understanding of the fundamental psychological aspects. During the first week, I delved into extensive research on global feedback practices within therapy, gaining valuable insights into the pivotal role of feedback in facilitating effective therapeutic outcomes.

Drawing from my research, I advocated for the adoption of Routine Outcome Monitoring (ROM) as a preferred practice for the development of feedback forms. This approach emphasized the significance of consistently monitoring client progress, enabling the therapist to make timely interventions and adaptations as needed. Immersing myself further in understanding the intricacies of ROM through comprehensive case studies, I developed a heightened interest in the workings of therapy sessions and the potential challenges faced by both therapists and clients.

Mindful of the sensitive nature of the information gathered through the feedback forms, I conscientiously crafted a set of strategic questions, prioritizing the emotional well-being and comfort of the clients. This process necessitated several iterations and revisions to ensure the clarity and effectiveness of the forms, culminating in the therapist's commendation for my dedication and meticulous efforts. The journey, albeit challenging and time-consuming, instilled in me the virtues of patience, creativity, and a receptive attitude toward constructive feedback.

The therapist's appreciation of my contributions served as a motivating force, propelling me to strive for excellence and deliver impactful solutions that can significantly enhance the quality of her therapy sessions. This experience reinforced my belief in the transformative power of patience and resilience in navigating complex professional challenges and nurturing a conducive environment for growth and development.

The link of all forms:

[aasthakumariyer]

Underwater Cables summer school at Lasalle (Aug 21st - 30th):

The Underwater Cable summer school program was about a Telematic performance. It included students from different parts of the world who specialized in varying arts. This was a 10-day program that had workshops where all students engaged in practicing the concept of submergence worlding, soundpainting, non-linear scripting, and other hybrid media techniques. In the Singapore group, we had students from London, Hong Kong, Tokyo, and Taipei. In real-time we were networking with The Academy of Fine Arts in Trondheim, Norway, and The Zurich University of the Arts, in Switzerland. The summer program was led by Dr. Tim the head of the School of Contemporary Music at Lasalle College of the Arts, in Singapore.

The 1st 5 days of the program we had workshops in which we did various activities.

Day 1: The initial day primarily entailed an engaging icebreaker session orchestrated by Mr. Alan, fostering a unique avenue for us, the Singaporean cohort, to acquaint ourselves with one another. Departing from conventional introductions, we embarked on a series of interactive games that not only facilitated camaraderie but also engendered a sense of comfort and camaraderie among the participants. This departure from the norm proved to be an invigorating experience, as I found myself effortlessly establishing connections with my fellow participants, transcending the constraints of unfamiliarity, and forging new bonds within this dynamic setting.

Following these lively activities, we were afforded the opportunity to engage in more personalized interactions, facilitating an organic exchange of ideas and perspectives among the diverse group of participants. Despite encountering some initial technical setbacks, our collective enthusiasm remained undeterred as we reconvened at 3 PM (Singapore Time) for the inaugural session of the Underwater Cable Program. The session entailed an illuminating introduction to the overarching objectives of the summer school project, with each respective teacher from the participating countries delivering insightful presentations that set the stage for the upcoming sessions.

Day 2: On the second day of the workshop, Mr. Muhammad kick-started the session by screening a compelling video featuring students immersed in the art of improvisational acting. This visual demonstration set the stage for the immersive activities that lay ahead, piquing our collective curiosity and igniting our creative spirits.

With characteristic enthusiasm, Mr. Muhammad unveiled the intricacies of the upcoming activity slated for the following day, which entailed the dynamic task of embodying and improvising a storyline based on the unique character profiles crafted by our fellow classmates. Brimming with anticipation, we eagerly embraced our designated partners, eagerly anticipating the opportunity to breathe life into the narrative through diverse forms of expression, ranging from acting and singing to engaging in thought-provoking dialogues.

This exhilarating prospect of stepping into the shoes of our crafted characters, coupled with the collaborative nature of the exercise, engendered an atmosphere of excitement and creative fervor, fostering a shared sense of anticipation and camaraderie within the workshop cohort.

Day 3: On the eventful third day, we were privileged to attend an enlightening workshop led by Banni, an esteemed former Lasalle student, who delved into the intricacies of his work and its profound connection to the overarching theme of underwater cables. Through his thought-provoking presentation, he expounded upon the captivating concept of "Sub-merging Worlds," unveiling a rich tapestry of interconnected ideas and profound insights.

During the workshop, Banni orchestrated an engaging activity that prompted us to delve into the unfamiliar realms of language and etymology. Entrusted with the task of selecting two words whose origins and meanings were previously unknown to us, I found myself drawn to the words "faith" and "oblivion." The process of uncovering the deep-seated significance and historical connotations embedded within these words proved to be a truly captivating and enriching experience, unveiling layers of meaning that transcended mere linguistic definitions.

My research: Faith: Derived from the Latin word "Fides", the meaning is something coming from a belief system and some strong feeling and assurance with something. The word is used about a god or a person they trust.

Oblivion: Derived from the Latin word "Oblivisci", the meaning is that it is the state of unawareness of what is going around you. In other words unconscious. In some cases people of doing bad things and later they just say that they were completely unaware of the situation. So this can be something very negative or destructive.

As each participant began to expound upon their chosen words, I observed a palpable shift in the atmosphere, as our casual discussions evolved into profound deliberations on the nuanced nature of language and its contextual adaptability. Engrossed in the collective exploration of the transformative potential of words, we found ourselves engaging in earnest conversations, delving into the intricacies of how the meanings and implications of certain words could shift under different circumstances.

Empowered by the open and receptive environment cultivated by our Singaporean cohort, I felt emboldened to articulate my own perspectives and insights, confident in the knowledge that my contributions would be met with genuine attentiveness and a shared commitment to mutual learning. This collective spirit of receptiveness and intellectual curiosity fostered a sense of friendship and fellowship, underscoring the profound value of collaborative engagement and the shared pursuit of knowledge and understanding.

Photos of the ppt:

Later in the day, at 3 PM, the entire cohort reconvened for the pivotal main session, which entailed the continuation of the workshop led by Mr. Muhammad, the esteemed instructor from Trondheim. Building upon the activities initiated on Day 2 of the program, Mr. Muhammad prompted us to delve deeper into our creative capacities by crafting distinct characters, exchanging their stories with fellow participants, and ultimately embodying each other's characters in a performative setting. Opting to narrate our character's narrative, I eagerly shared my story, having exchanged character profiles with Sandy from London.

The subsequent group performance segment of the workshop proved to be a challenging yet rewarding endeavor. Paired with Tengshen from Taiwan, I embraced the opportunity to venture outside my comfort zone, exploring new dimensions of performance that transcended my familiar realm as a singer-performer. Despite the initial challenges, I wholeheartedly embraced the spirit of experimentation and growth, recognizing the significance of pushing personal boundaries and embracing the discomfort that accompanies artistic exploration.

This immersive workshop not only fostered individual growth but also facilitated meaningful connections among participants from Trondheim, Zurich, and our contingent from Singapore. It served as a catalyst for fostering understanding, bridging cultural divides, and encouraging the exploration of diverse creative perspectives and approaches.

Day 4: On the 4th day there 2 workshops one was the Sound Walk and then at 3 p.m. with all the students we did Sound painting which was conducted by Dr.Tim.

Sound Walk: Before going for the sound walk, the teacher explained to us what is a soundscape. The concept of soundscape is listening and understanding different sounds. This was later explained with the help of a diagram.

This diagram shows the relations of sound with the environment and an individual. Then later he explained 3 important questions: 1. What we hear what we listen to?

He explained different types of sounds, which are keynote sounds, sound signals, and sound marks. Explanation:

Keynote Sounds - This is a key or tonality of a particular composition. The main key on which the whole composition was being made around. They act as condition agents and it is not consciously perceived. Keynotes are the ground (figure and sound relation).

Sound signals - Noise or unwanted sound. Sound signals are always treated in their ambient or keynote context. The signal is what you desire to hear but not able to hear it.

Sound Mark - Has a special quality that is regarded by the people or the community. There are cultural and historical significance and merit preservation and protection.

2. Is this how we listen to what we hear?

In this, he explains the connections between audio and vision.

The 3 listening modes: (Chion)

Semantic - Listen through the sound, significance in sound, especially that of language, from which meaning can be derived.

Causal - What caused it or the source of the sound.

Reduced - Abstraction, focusing on the pitch or in abstract values. Like the pitch or rhythm (repeated pattern).

3. We hear all the time but what do we listen to?

To make this concept clear, our instructor led us on a contemplative sound walk in the vicinity of the college campus. This novel experience entailed a serene and mindful exploration of our surroundings, where we embarked on a silent journey, attuned to the subtle symphony of ambient sounds. As we immersed ourselves in the present moment, a remarkable sense of tranquility gradually enveloped our thoughts, offering a rare respite from the ceaseless mental chatter that typically occupies our consciousness.

Following this introspective workshop, the collective cohort reconvened at 3 p.m. for an exhilarating session of sound painting. As a second-year music student at Lasalle, I had previously been introduced to the fundamentals of sound painting during my creative ensemble classes, albeit solely within the context of musicians. However, this session offered a transformative experience as we engaged in collaborative sound painting alongside dancers, actors, and fellow musicians. The dynamic fusion of diverse artistic disciplines infused the process with an unprecedented sense of excitement and novelty, fostering a rich and multifaceted creative environment that encouraged boundless experimentation and expression. This collaborative endeavor not only enriched my understanding of sound painting but also underscored the profound potential of interdisciplinary collaboration in fostering a vibrant and synergistic creative ecosystem.

Day 5:

On the fifth day, Banni returned to our college for the concluding session of his workshop series, delving deeper into the compelling concept of manifestos. He eloquently expounded upon the significance of these written declarations, emphasizing their pivotal role in publicly articulating the intentions, beliefs, or perspectives of their creators. An effective manifesto typically comprises three essential components: the thesis or introduction, the guiding principles or precepts, and a well-defined plan of action or implementation.

Prompted by his insightful guidance, each of us was tasked with crafting our own unique manifesto, channeling our inner convictions and aspirations into a coherent written statement. This immersive exercise inspired us to reflect deeply on our individual values and beliefs, providing a platform for us to articulate our personal philosophies and visions in a succinct and impactful manner. Through this process, we were encouraged to introspect and distill our core principles into a concise yet compelling narrative, thus encapsulating our collective desire for positive change and meaningful impact within our respective spheres of influence.

My Group manifesto and performance:

Day 6 to 10: Throughout the course of the 6th to the 9th day, our schedule was dedicated to intensive group rehearsals, each group allocated a focused one-hour block for collaborative practice sessions. Within Group 1, our initial rehearsal day commenced with a thoughtful discourse centered on the overarching concept we aimed to convey, culminating in our collective decision to center our performance around the theme of love. Acknowledging the multifaceted nature of this profound emotion, we collectively endeavored to express its myriad dimensions through a harmonious fusion of music, dance, and technology.

As we delved deeper into the rehearsal process, we encountered a series of technical challenges that necessitated a concerted effort from our group, as well as the invaluable guidance and mentorship provided by our esteemed instructors. Navigating through these hurdles with a spirit of collaboration and perseverance, we gradually honed our performance, refining our artistic expressions and synchronizing our collective efforts to culminate in a cohesive and impactful presentation. Through this enriching journey of collective creativity and shared dedication, we ultimately succeeded in crafting a compelling and resonant performance that encapsulated the essence of love in all its nuanced forms.

Reflecting on this transformative journey, I am struck by the profound lessons I have gleaned, particularly in the realm of stepping outside my comfort zone and embracing the unfamiliar with a newfound sense of ease and adaptability. As a musician, I have always approached my craft with meticulous precision, striving for flawless performances and meticulous adherence to established norms. However, this immersive workshop experience has fundamentally altered my perspective, introducing me to the liberating art of improvisation.

Through this exploration, I have come to recognize that improvisation transcends the confines of right or wrong, offering a boundless canvas for creative expression and unrestricted self-discovery. Although initially apprehensive about relinquishing control, I have now come to appreciate the beauty of authentic self-expression, reveling in the freedom to explore new dimensions of creativity and embracing the innate fluidity of artistic interpretation.

In hindsight, my decision to participate in this summer project stands as one of my most rewarding and enlightening choices, offering me a profound opportunity for introspection and personal growth. This immersive experience has not only enabled me to unearth my authentic self but has also instilled within me a deep-seated understanding of the significance of collaboration and empathy in navigating diverse interpersonal dynamics. I am deeply grateful for the invaluable mentorship and guidance extended to me by my esteemed seniors and peers, whose collective wisdom and support have been instrumental in shaping my artistic journey and fostering a newfound sense of creative liberation.

Group 1 Members:

Trondheim - Branca and Olive

Zurich - Christa and Karol

Singapore - Khai, Mirjana and Aastha