(Alter)-Ego
- Aria
- Mar 4
- 51 min read
(2024)
MAIN IDEA FOR THE EP (THEME AND STORYLINE)
The main idea comes from the movie "Black Swan" and the book "This Side Of Paradise" by F. Scott Fitzgerald.
- The Black Swan
The film explores the inner torment as well as the toxic relationships surrounding Nina. The movie Black Swan is about a tortured artist whose quest for perfection makes her mentally unstable.
The Black Swan is a dark psychological horror film that delves into the world of ballet, mental health, and the price of success. The intense pressure and obsession for perfection leads the main character, Nina, to a state of hallucinations and mental strain. Furthermore, Nina's constant fixation on achieving perfection displays elements of an obsessive-compulsive personality disorder. The film does not provide any explanation for Nina's diagnosis, nor does it show that she is receiving treatment, which left the interpretation of her mental illness up to the audience.
The film's open-ended ending leaves viewers with multiple theories, questioning whether the final scene really happened or was merely an illusion. The ending of Black Swan incorporates surreal elements and leaves Nina's fate ambiguous, with hints that she may have died or achieved artistic fulfillment.
Throughout the film, Nina "discovers" scratches and bruises on her body that appear to be self-inflicted. However, it is difficult to tell which injuries are real and which are not throughout the film. As the stress and anxiety mount, Nina begins to have psychotic breaks.
The film ends with the line "I felt it... perfect... I was perfect".
- This Side Of Paradise
The novel explores the theme of love distorted by greed and the pursuit of status, and takes its title from a line in Rupert Brooke's poem, Tiare Tahiti. This Side of Paradise is the story of a young man's painful sexual and spiritual awakening that echoes Fitzgerald's own career, it is also a portrait of the lost generation that followed directly from the First World War, growing up to find all the Gods dead, all the wars fought, all faiths in man shaken, and wanting money and success more than anything else.
A major theme in the novel is the disillusionment one feels as one grows older. Amory realizes that the heroes, great people, and ideas one idealizes during one's youth are also merely human.
Amory is a young man who goes through the same questions and thoughts as any other person in his 20s. The book starts when Amory was in high school and was thinking about which university he would go to and why, then his life in college and ends when Amory becomes an adult. The main idea of the book is around Amory's social status, thoughts and life during his search for himself, relationships and the time of World War I. Amory starts with the idea that he knows himself, he is a young egotist believing that he knows the world and who he is, throughout university he understands that he actually does not know himself, but pretends to know it as he questions his choices and tries to overcome the turmoil of his 20s. At the same time, however, he enjoys life, the friendships and relationships he has made. In his adolescence he finds himself surrounded by new ideas about society and personality, he understands that his generation is tired and ends up finding himself.
The book ends with the phrase “I know myself, but that is all”.
THE INSPIRATION OF THE AESTHETIC FOR THE EP
THE BLACK SWAN MOVIE VISUALS
INTRODUCTION
Black Swan is a 2010 film about a ballet dancer who wins the lead in Swan Lake and is perfect for the role of the sensitive White Swan – Princess Odette – but slowly loses her mind in the role of Odile, the Black Swan, daughter of an evil sorcerer. Directed by Darren Aronofsky.
Black Swan is a 2010 American psychological horror film directed by Darren Aronofsky from a screenplay by Mark Heyman, John McLaughlin and Andres Heinz, based on a story by Heinz. The film stars Natalie Portman in the title role, with Vincent Cassel, Mila Kunis, Barbara Hersey and Winona Ryder in supporting roles. The plot revolves around a production of Tchaikovsky's Swan Lake by the New York City Ballet. The production requires a ballerina to play the innocent and fragile White Swan, for whom devoted dancer Nina Sayers (Portman) is a match, as well as the dark and sensual Black Swan, qualities best embodied by new rival Lily (Kunis). Nina is overcome by a sense of immense pressure when she finds herself competing for the role, causing her to lose her tenuous grip on reality and descend into madness.
STORY
Nina Sayers, a young dancer with the New York City Ballet, lives with her overprotective mother, Erica, a former ballerina herself. The company opens its season with Tchaikovsky's Swan Lake. After forcing prima ballerina Elizabeth "Beth" MacIntyre into retirement, artistic director Thomas Leroy announces that he is looking for a new dancer for the dual roles of the innocent, fragile White Swan Odette and the sensual, dark Black Swan Odile. Nina auditions for the roles and gives a flawless performance as Odette, but fails to embody Odile.
During rehearsals, Thomas tells Nina to observe a newcomer, Lily, who has a physical resemblance to Nina, but also an uninhibited quality that Nina lacks.
Nina becomes convinced that Lily intends to take her place, especially after learning that Thomas has made Lily her understudy. Nina's hallucinations intensify and her trauma increases, to the point that she hallucinates transforming into Odile. On opening night, Nina scolds her mother for calling the theater and telling them that she was not well enough to perform, worried that the role might be too much for her. When Nina arrives late, Lily is ready to replace her, but Nina convinces Thomas to let her take her part back.
Nina becomes convinced that Lily intends to take her place, especially after learning that Thomas has made Lily her understudy. Nina's hallucinations intensify and her trauma increases, to the point that she hallucinates herself transforming into Odile. On opening night, Nina scolds her mother for calling the theater and telling them she was not well enough to perform, worried that the role might be too much for her. When Nina arrives late, Lily is prepared to replace her, but Nina convinces Thomas to allow her to take back her role.
Towards the end of the ballet's second act, Nina is distracted by another hallucination and loses her stability as Odette. She returns to her dressing room to find Lily getting ready as Odile. During a confrontation, Lily transforms into Nina. The two fight, breaking a mirror. Nina stabs her doppelgänger with a large piece of glass from the mirror, killing her. Nina returns to reality and realizes that she killed Lily. She hides the body in the bathroom and goes on stage, dancing flawlessly as Odile and seemingly transforming into a black swan, her arms covered in feathers, and returns to her dressing room.
As Nina resumes her Odette tutu and white swan makeup, she hears a knock on her door. She opens it to find Lily alive, who apologizes for the misunderstanding and congratulates Nina before taking leave. Distraught, Nina sees that the mirror is still broken and the towel she used to wipe the blood is clean with no body in the bathroom. She looks down and pulls a piece of glass out of her stomach, realizing she had stabbed herself. Nina dances the final act of the ballet, which ends with Odette jumping off a cliff and Nina landing on a mattress. The theater erupts into thunderous applause as Thomas, Lily, and the others gather to congratulate Nina, who remains lying on the mattress. Thomas sees the blood spreading to her waist and cries for help. He frantically asks Nina what happened to her, to which she calmly replies: "I felt it. It was perfect. I was perfect" as the screen fades to white.
ORIGINAL STORY (BALLET)
Swan Lake is the love story of Prince Siegfried, who on a hunting trip encounters a flock of swans, falls in love with the Swan Queen, Odette, and swears his loyalty and undying love to her. As a result of a curse by the evil wizard Baron von Rothbart, Odette can only take human form between midnight and dawn.
Love with Siegfried can humanize Odette and free her from her curse, so that she can shed her swan form and become the woman she was born to be. The implicit meaning here is that true love frees the authentic self from the trap of a deceitful persona and allows for embodiment.
Because the character of Odile is actually the daughter of the villain Von Rothbart magically disguised as Odette, the two roles are most often portrayed by the same dancer, but are sometimes danced by two different dancers in the same performance. The ballerina's dual role, Odette/Odile, or White Swan/Black Swan, is one of the most iconic in the repertoire, requiring technical mastery and emotional range to transform from the vulnerable and pure Odette to the bold and deceptive Odile. Thematically, these polar opposites symbolize a battle between good and evil.
THE BLACK AND THE WHITE SWAN
IN BOTH FILM AND BALLET
There are differences between the white and black swans.
- Odette is fluid and ethereal with the delicate carriage and billowing arms of the swans that are the ballet's signature. The white swan has very gentle movements.
- Odile is dexterous, demanding attention with a series of jumps and turns. The black swan makes eye contact and its movements are much more intense and it moves with great confidence.
- Odette vs Odile :
This contrast between the black and white swans is also seen in the film. Nina represents more of the white swan, she is innocent, fragile with very soft and controlled movements while dancing with grace. When on the other hand Lily is the opposite. She leans towards the black swan with a wild and confident character while her dance is more sharp and less controlled.
The observation in the film was also seen by their teacher, Thomas.
The aesthetic of a white swan
The truth is when I look at you all I see is the white swan. Yes you're beautiful, fearful, and fragile. Ideal casting. But the black swan? It's a hard job to dance both. ~ Thomas Leroy
The black swan aesthetic
Perfection is not just about control. It is also about letting go. Surprise yourself so you can surprise the audience. Transcendence. Very few have it in them. ~ Thomas Leroy
CHAPTER 1 : A Matter of Aesthetics
AESTHETIC OF THE EP
COVER
The same view of the swans in the film should be depicted on the EP cover. The cooler scale will be black and white, the black swan looking to the left and the white one to the right with a sense of movement in the middle.
FRONT
via Pinterest
But it will have the aesthetic of a ballerina in a swan costume.
Outfit ideas via Pinterest
The back of the EP will be the ballerina as a white swan holding a piece of a broken mirror and showing herself as a black swan again in black and white.
BACK (1)
via Pinterest
CHAPTER 2 : Identities
The EP will have the main title and 11 tracks. The EP will be divided into ACT 1 and ACT 2. ACT 1 will have the story of the white swan and ACT 2 will have the story of the black swan.
NAME OF THE EP :
(Alter)-Ego
TITLE TRACKS :
ACT 1
The Romantic Egoist (intro)
Code Of Young Egoist
The Golden Year
White Lily
Pointe Shoes
ACT 2
The Egoist Considers
Interlude
The Education Of A Personage
Narcissus Off Duty
Pearls Of Joy
The Value of Possessions (Outro)
Titles 1-2 from ACT 1 and 1-4 from ACT 2 are from the book "This Side Of Paradise" and each track will have a story inspired by the book and the movie "Black Swan".
MEANING OF THE TITLES & LYRICS
Some of the titles are taken from each chapter of This Side Of Paradise. The titles and lyrics represent personal thoughts related to the story of the book.
Fitzgerald was influenced by both types of Americans, which allowed him to critique American society from within through his personal experience with the exciting, fast-paced culture of 1920s New York. He uses his protagonists to question how individuals within American culture should begin to redefine themselves by challenging traditional social roles for men and women. This city was neither the haven of prostitution and drinking that defined New York, nor was it the backward rural town of the novels. The middle ground of traditional and modern cultures that this Midwestern town reflects on a small stage is also indicative of the tension that exists between traditional and youthful cultures across the nation.
For Fitzgerald, the American Dream was an unattainable goal that haunted his male protagonist. Amory never achieved this dream. He described his personal frustration with the pursuit of wealth that is characteristic of the American Dream. Rather than envisioning the American Dream as a positive influence on his male protagonists, Fitzgerald depicts the immaturity of his male protagonists as a result of the destructiveness of wealth. This frustration with such a basic American ideology that is directly related to the amount of wealth a person has is woven into Fitzgerald's novels and expresses the inability of his male characters to reach adult maturity.
Along with his male protagonist's pursuit of wealth, Fitzgerald connects the idea of success to the rise of youth culture that developed in America in the 1920s. He makes this connection to show a shift in cultural definitions from career-focused success to success defined as achieving the goal of becoming oneself.
His character reflects the tension that existed in American culture between adulthood, which in the 1920s meant success based on self-sufficiency and education, and maintaining a youthful outlook on life, which was often seen as failure by those who clung to traditional ideals.
The competing discourses that shaped 1920s American culture can also be found in the story of Amory Blaine in This Side of Paradise, who is plagued by issues of identity and what it means to be oneself in the face of the culture's changing definitions of masculinity. Although the loss of friendship and love that Amory experiences throughout his life, with the death of his father, the separation from his mother, and the death of Monsignor Darcy, should cause him to develop as a character, he fails to form a stable identity as a masculine figure. Fitzgerald uses this failure of Amory to transform himself into a self-aware character from childhood to adulthood to show the difficulty of discovering one's identity, especially in the midst of the changing culture of the 1920s. Amory is indicative of the chaos of American society because, although his early life is stable, as he grows up, he finds himself without family influences, forced to find his own way in Princeton and New York society. Amory is a character torn between becoming a masculine figure who fits the traditional definition and someone who has discovered his identity as a Self in relation to contemporary culture. He also represents the weakened traditional male figure, and his search for a new masculine identity is characteristic of post-World War I America due to his over-reliance on other people in relationships, his overly sentimental view of the American Dream, and his inability to live a successful life due to his failure to mature significantly throughout the novel.
Amory's search for purpose and meaning in life is influenced by the way he develops his relationships with others, as seen in the father-son relationship he forms with Monsignor Darcy. Amory's need to make such connections influences the way he interacts with the more mature adults in his life and dictates his dependence on their approval, especially that of other men.
Through these conflicting examples, Fitzgerald provides a solution to the dilemma of American society trying to define itself. He argues that becoming a personality provides a stable identity. However, adapting one's identity to others can become problematic.
Amory creates an identity for himself based on the concept of a superman, who is better than those around him. Rather than being crushed by losing the approval of others, it is better for Amory to become a personality. Amory's arduous journey to discover his own masculine identity is made even more difficult by his mother's early influences and the lack of a father figure in his life. These relationships later hinder his attempts to form romantic connections with the female characters who float through his life. He imagines himself as a person of value, superior to everyone around him. Due to Amory's inability to create a stable identity in all of his romantic relationships, he is easily shaken by what he does not have.
Amory also pays attention to what he wears throughout the novel and often associates clothing with social status or wealth, because if a man is considered fashionable it means he has a certain amount of wealth.
In a short period of time, Amory experiences several life-changing events that should cause him to mature as a character and lead him to a better understanding of himself. This transition does not come easily as Amory struggles to find the answer to what his life's purpose is and who he is as a person.
ACT 1
The Romantic Egoist
The EP begins with the title track from Fitzgerald's Book 1 of This Side Of Paradise titled "Romantic Egoist." The story focuses on the young protagonist at a young age, where he considers himself the best among his peers, cares about social status, expects to have the best life and discover himself, while trying to find fulfillment in his romantic relationships.
ROMANTIC EGOIST : Ego Love – Means that you do not truly love the person but love more what the person gives to you. And the moment that is taken away, there is no more to be gained from that relationship if there is nothing in exchange.
The lyrics of this song describe my young self trying to fit in with my peers, while believing that my personality is complete and better than anyone else's. I try to achieve "perfect", without mistakes. My mindset is similar to Amory and Nina's. I expect something in return and if I don't have it I let it go. I have to achieve the "ideal".
It's a bittersweet feeling I have. A calm melancholy. It's an introduction to myself.
Code Of Young Egoist
This title comes from the book This Side Of Paradise and is part of the chapter “Amory, Son Of Beatrice” Book 1 “The Romantic Egoist”. In this particular part the author explains how Amory sees himself. As Fitzgerald says in the book:
“Amory marked himself a fortune youth, capable of infinity expansion for good or evil. He did not consider himself a “strong character” but relied on facility (learn things short quick) and his superior mentality (read lotta deep books). He was proud of the fact he could never become a mechanical or scientific genius. From the heights was debarred”.
Fitzgerald then described Amory Physically, Socially, Intellectually and then described his dream/goal as a young man. Amory wanted to make an impact on the world. The paragraph was about wanting to change the world, the author states that this mindset changed later in life. He then went on to contrast his goal with reality. It was Amory's dream versus his conscience and reflection on reality with the feeling of self-doubt and here Fitzgerald states:
“…he was a slave to how own moods and he felt that though he was capable of recklessness and audacity, he possessed neither courage, perseverance, nor self-respect.”
The piece ends with the result of this introduction. Amory had the desire to "pass" anyone to reach the top of the world and with this background he went into adolescence.
The lyrics of this song are a deeper introduction to myself, as I explain my goals and aspirations, explaining my relationship with perfection.
The Golden Year
GOLDEN YEAR : the advanced years in a lifetime. The term "Golden Years" is often used to describe the phase of life that begins in one's senior years, typically after retirement.
Here is also a time of hope and faith where I can truly be myself and enjoy what I do and life during my student years, since 20 is a very crucial age. It has a happy and fulfilling atmosphere.
White Lily
WHITE LILY : Popular at both weddings and funerals, white lilies are believed to represent rebirth and purity.
The flower is a metaphor for me finding myself again and again (rebirth) and finding my peace and tranquility (purity), like the black swan becoming white again. It is a joyful and refreshing feeling.
Pointe Shoes
POINTE SHOES : also called a ballet shoe, is a type of shoe worn by ballet dancers when they perform. Pointe shoes were conceived in response to the desire for dancers to appear weightless and sylph-like and have evolved to enable dancers to dance en pointe (on the tips of their toes) for extended periods of time. They are manufactured in a variety of colors, most commonly in shades of light pink. Ballet dancers face acute and chronic conditions such as blisters, bunions, bruised toenails, achilles tendonitis, and degenerative joint disease. Although the grace of dancing on pointe is something so beautifully surreal.
Ballet is military training in an art form, there has to be the perfect body type, perfect and calculated movements. So here, I describe the pain that comes from the beauty of perfection, along with the feeling of abandonment and disappointment. It is a mixture of confusing emotions, all in the name of art and life.
ACT 2 :
The Egoist Considers
ACT 2 begins with the title of Fitzgerald's Book 1, Chapter 3 of This Side Of Paradise titled "The Egoist Considers". The story focuses on the protagonist's years during his college years where he goes through an identical crisis questioning whether or not he should quit and whether his choices for his studies are the right ones, realizing that he knows himself through his romantic relationships where he only stayed because there was something to gain from them, rather than wanting to stay in them. Amory becomes confused trying to enrich the perfect situation in every aspect of his life, making him think about his path.
CONSIDERATION : a payment or reward/the act of thinking about something carefully.
Like Amory, the thoughts of this song are about questioning my choices while realizing that I barely know myself within myself and in the end I'm not willing to sacrifice myself for something, but will try to get me to the point where I can't do it anymore.
Interlude
The Interlude is a transition from ACT 1 (Ego) to ACT 2 (Alter-Ego). It is inspired by the Interlude chapter of the book "This Side Of Paradise" where Darcy sends a letter to Amory. Although it is inspired by that, the interlude is closer to the story of the movie "Black Swan" where the White Swan turns into Black. So basically we go from the bright emotions to the darker ones.
The Education Of A Personage
Based on Fitzgerald, in chapter 3 of “The Egoist Considers” personality and personality are two different things:
PERSONAGE : A personality is what you thought you were. Personality is a physical matter almost entirely: it lowers the people it acts on. While the personality is active, it overrides ‘the next thing’. A personage gathers. It is never thought apart of what it’s done. It’s a bar on which a thousand of things have been hung —— glittering things sometimes, it uses those things in a cold mentality.
In the second book of This Side Of Paradise, “The Education Of A Personage,” Amory comes face to face with many relationships and friendships along with the experience of war and the new society that came with it. We see Amory in his college years and in his 30s when he had a different mindset about American society and himself. The book ends with the phrase “I know myself… but that is all.” It is an open ending where the reader decides what will happen to Amory.
For me the ending was bittersweet, for me it felt empty to “only know myself” as if I had no memories, no real accomplishments, just a knowledge that can’t do anything with it. So the lyrics of this song are bittersweet. They’re based on me struggling to figure out who I am and what I love, but they make me feel empty once I figure it out, like there’s no real purpose to them.
Narcissus Off Duty
Amory, in Book 1, Chapter 4, "Narcissus off Duty," looks at his reflection in mirrors—namely, his mother Beatrice and his lovers, Isabelle Borg & Clara Page, Rosalind Connage, Eleanor Savage, and his friends, Dick Humbird and Monsignor Darcy. This chapter highlights his narcissism, which has been attributed to his maturity and has been inadequately analyzed. "Narcissism, a cornerstone of Freudian theory, takes its name from the Greek story of Narcissus of youth." The term idealization of the metaphor and the activation of the grandiose self [a grandiose and ostentatious self-image] will be used, which will be called the mirror metaphor." In the mirror metaphor, the patient assumes that the analyst is like him and overlaps his self-image with the analyst as the child narcissistically confirms his ostentatious appearance in the gleam in the mother's eye. Amory's narcissism can be reassessed as the basis of his independence, which has been criticized by the Freudian view that narcissism exists transiently in infancy. His final cry, "I know myself," is an echo not of self-love but of the limitation of narcissism, of the loss of that aspect of paradise through awakening to himself. Amory knows himself through Beatrice and his four loves, who are like five glasses.
1. Beatrice: The Archetype of Beauties
Beatrice, a beautiful, delicate and overprotective mother, appears as Amory's first mirror who "inherited from his mother every trait, except the stray inexpressible few, that made him worth while”. She is the basis of both his nervousness and romanticism.
2. Isabelle: Between the Acts
Isabelle is a replica of his perfect self. They play not their real self but their idealized self and seek their own idealized image in the figure of the other.
3. Clara: "A light-weight is an eternal nay”
She is ideal, clean, brilliant and casts light upon him as her name suggests. She is too saintly for him to draw near to.
4. Rosalind: The Debutante Diving into the Clear Water
She is intangible for him because she is misted with the abundance of pink, which is reminiscent of Clara's prismatic accumulation. The two narcissists, however, are different in nature: postwar Rosalind is a modern realist while prewar Clara is a pious Christian. He, a member of the lost generation, meets a femme fatale and comes to restrain his self-love in the face of her egotism.
5. Eleanor: One of the Twins Reflected in the Broken Glass
Eleanor, Psyche is the last, who leaves Amory the pain of knowing himself. She is the sole muse who projects his precise image. She sends back his hol- low cry, "I know myself," like the nymph Echo who could only repeat Narcissus' words.
NARCISSUS : Symbolizing rebirth and new beginnings, the daffodil is virtually synonymous with spring. A beautiful youth in Greek mythology who pines away for love of his own reflection and is then turned into the narcissus flower.
Like Amory found himself through the mirrors in this song, I analyze myself through my own mirrors created by the eels. While I transform into a new me each time (like Nina), I reach the point where I lose my mind due to how many versions of myself there are, so I transform into the last Alter-Ego character (Black Swan).
The Value of Possessions
POSSESSIONS : The state of having, owning, or controlling something./The meaning of possession is the act of having or taking into control.
The lyrics in this song are about the idea that sometimes when you get possessive about what you do, you get what you want. It's about taking control and losing yourself in the name of what you love. Nina let Black Swan take control of herself, she had delusions, to achieve success and perfection, but it came at the cost of losing herself, and that's what I'm going to be myself for. I'm talking about how far I can go to lose myself for something.
Pearls Of Joy (Outro)
PEARLS OF JOY : In Greek mythology, pearls are said to be the tears of joy shed by Aphrodite, the goddess of love. She was born from sea foam, after all. Accordingly, Aphrodite (or Venus, as she’s known in Roman mythology) is frequently depicted wearing or in close proximity to pearls.
Nina at the end of the film became a white swan again and cried as she said "I felt it... I was perfect", the film has an open ending leaving Nina's fate to the viewers. I believe she died in her dream. So, with that said, the lyrics are about the happy-sad tears of killing a version of you to find yourself. This is the end of Black Swan becoming white again, realizing that he has to leave with the outcome of Black's actions.
SIDE NOTE
The flowers I chose for this EP are not a random choice. There are two rebirths. One through a White Lily and one through a Narcissus.
The White Lily, as mentioned, symbolizes rebirth and purity and is used for both weddings and funerals. Just as in the film Nina finds herself through the role of the white swan, here the flower is a metaphor for me finding myself again and again (rebirth) and finding my peace and tranquility (purity) through my white swan.
Although Narcissus Off Duty is not a title I created, I chose it because of the meaning of the flower. The narcissus symbolizing rebirth and new beginnings, the narcissus is essentially synonymous with spring. A beautiful young man in Greek mythology who fell in love with his own reflection and then turned into a narcissus flower. Nina had a similar story. She tried to find herself through mirrors (her mother, friend, ballet, her role, etc.) until the black swan took over, leading her to distraction. Just like Nina, I try to find myself through the black swan with the goal of achieving as much as I can until I reach my peak.
In summary, the White Lily symbolizes my rebirth as pure and the Narcissus my rebirth as a new version through a camouflage.
2. SIDES
The pieces will be divided into two sides, SIDE A - SIDE B.
- SIDE A > Ego
SIDE A will concern the White Swan.
- SIDE B > Alter-Ego
SIDE B will be about the Black Swan.
3. EXPLANATION BEHIND THE MUSIC OF THE SONGS
The title songs are in the order of the white swan becoming black. This represents the mood swings of a person from high to low.
A mood swing is an extreme or sudden change in mood. Such changes can play a positive role in promoting problem solving and producing flexible future planning, or they can be disruptive. When mood swings are severe, they can be categorized as part of a mental illness.
This was also seen in the film. Nina's mood swings were represented by the swan. See also the main character of the album represents these mood swings with the black and white swans from the film. The song titles represent the story the character will tell as they move from good to bad.
Mood swings can happen at any time and in any place, mood swings remain in the mild to moderate range of emotional ups and downs. It can also vary between normal struggles around self-esteem, through moodiness, to a depressive illness. Mood swings can last for several days, even weeks: these episodes can consist of rapid alternation between feelings of depression and euphoria.
This was represented in the film and will be represented in music as well. The white and black theme (swans) are the emotions between depression and euphoria.
Mood swings up and down without knowing the reason or external stimuli, to varying degrees, duration and often, from high mood (happy, upbeat, irritated) to low mood (sad, depressed).
The pieces will be in order from the highest mood to the lowest, since the cycle of mood swings begins that way. Half of the pieces that are the white side will have a softer, but exaggerated, more elegant and musical sound, perhaps with a touch of coloration to match the White Swan's dancing style. On the other hand, the other half of the pieces, which are the sad side, will have a sharper and more intense, but also calm, sound that will represent the movements of the Black Swan.
Sometimes it is mixed, a combination of symptoms of mania and depression or similar to bittersweet experiences that last for a day.
The Interlude on the album will be a short song, which will change the music between the White and Black Swan.
INSPIRATIONS
— DPR IAN
The thematic process for this EP comes from DPR Ian. His creative narratives are grounded in the manifestation of two mental health conditions: Borderline Personality Disorder (BPD) and Dissociative Identity Disorder (DID). These conditions significantly impact Ian’s daily life and interpersonal relationships. The thematic structure of Ian’s albums unfolds a narrative that clarifies the interconnection between his distinct personalities, their relationship to him, the emotions and experiences he experiences through them, and the subsequent effects on himself and those around him.
Ian’s albums serve as a means to convey the complex dynamics between his various personas, exploring their appearance, communication styles, thought processes, and interactions with each other and with Ian himself. The main characters in Ian’s narrative ensemble include MITO, Ian (Christian) / Hybrid, and Insanity.
MITO was first introduced on Ian's debut album, "Mood Swings In This Order" (M.I.T.O.), where the audience was introduced to MITO's appearance, vocal characteristics, and overall personality. MITO symbolizes Ian's manic state, emblematic of the swing between hyperactivity and depression in Bipolar Disorder. Following this introduction, Ian continued to delve deeper into the character of MITO on his second album, "Mood Swings In To Order" (MIITO/M.I.T.O. 2), presenting a cinematic narrative that details MITO's relationship with Ian.
At the other end of Ian's spectrum is Insanity, which was revealed through his EP titled "Dear Insanity. . ..". Paranoia epitomizes the hyperactive phase of BPD, characterized by impulsive decisions, reckless actions without regard for consequences, increased sociability, and rapid thought processes. Insanity communicates in a high-pitched voice and is associated with bright colors in moments of calm and normalcy, shifting to darker hues when control is lost.
Ian provides a comprehensive understanding of Insanity through the EP's content, featuring songs and music videos such as "Peanut Butter & Tears," "So I Danced," and "Don't Go Insane." These pieces explore Insanity's nature, his relationship with MITO, and the transformation from benevolence to malevolence triggered by specific stimuli.
In the middle of both stands Hybrid, featured on Ian's DPR single Limbo. Hybrid represents the scene between MITO and Insanity where Ian switches between characters. He represents mixed emotions, a combination of symptoms of mania and depression, or similar to bittersweet experiences.
In conclusion, Ian's artistic storytelling intricately weaves the complexities of mental health conditions into a visual and auditory experience, allowing the audience to understand the multifaceted aspects of his characters and their impact on their lives.
— TABBER
As for the songwriting, I was inspired by various artists. One of them is Tabber.
Musically, he is known for his rough voice and his flexibility to shift between rap and vocals. His songs often have moody themes and are accompanied by heavy instrumentation. Tabber likely explores a contemporary blend of R&B, hip-hop, and electronic music. His sound can be richly produced, incorporating elements such as smooth synths, intricate beats, and psychedelic melodies. He experiments with genre-bending, infusing traditional R&B and hip-hop elements with modern electronic production techniques. Tabber's vocal style can vary depending on the song, but can include smooth, soulful singing reminiscent of classic R&B singers. He also incorporates elements of rap or spoken word into his music, demonstrating the versatility of his delivery. While his lyrics touch on themes such as love, relationships, self-discovery and personal experiences. He offers introspective insights or narrative elements within his songs, connecting with listeners on an emotional level.
His albums “Deep End Mix Tape”, “Madness Always Turns To Sadness” perfectly showcase the moody theme and heavy instrumentation and this is even seen in his singles, an example being his most famous work “007 (feat. Syd)”.
Songs from “Deep End Mix Tape”, such as “Runner’s High Demo” show that he combines elements of R&B, hip-hop and electronic music, creating a smooth and catchy sound. His songs have a relaxed, groovy feel characterized by its steady beat and synchronized rhythms. Percussion, including the use of drum machines or electronic beats, adds a modern touch and keeps the tracks moving forward. His songs combine electronic and live instrumentation. Synthesizers and keyboards create rich, atmospheric textures, while bass lines provide a solid foundation for the groove. The use of samples or electronic effects can add additional layers of sound. Overall, his tracks are a well-crafted blend of R&B, hip-hop, and electronic elements, characterized by his infectious melody, smooth vocals, and sophisticated production.
As an emerging artist, Tabber focuses on experimenting with different sounds and techniques to develop a unique artistic identity. He collaborates with other musicians or producers to explore new sonic landscapes and push creative boundaries. “Honey! (feat. Dean)” is a prime example of this. The melody is catchy and infectious, with hooks that stick in listeners’ heads. DEAN’s smooth vocal delivery complements the melody well, adding soulful nuances to the song. The harmony is often based on simple chord progressions, but occasional chord substitutions or extensions add depth and interest. DEAN’s vocals likely convey emotion and sincerity, drawing the listener into the song’s narrative.
“Madness Always Turns To Sadness” shares the same characteristics, although he experimented with more Jazz sounds and elements.
Tabber’s visual aesthetic, which includes music videos, album artwork, and promotional materials, reflects his artistic vision and personality. He uses modern and visually striking imagery to enhance the overall presentation of the music. their.
Overall, Tabber probably represents a new wave of artists who are blending genres and pushing the boundaries of contemporary music, with an emphasis on authenticity, innovation and emotional appeal.
Tabber inspired SIDE B (Alter-Ego) of my EP. The distorted sounds, moody themes and heavy instrumental accompaniment fit perfectly into the Black Swan story to see the confidence and intensity of the character.
— JEY
Another artist who inspired me for the EP’s arrangement and sound was JEY. Jung Jinhyeong is a South Korean singer-songwriter and performer known for his soulful vocals and dynamic stage presence.
JEY’s musical style is characterized by a fusion of R&B, pop, and soul influences. He often incorporates smooth vocal melodies, soulful delivery, and intricate harmonies into his music. His songs feature distinctively modern production elements while also showcasing his ability to convey emotion through his voice. He has demonstrated versatility as an artist, exploring various musical genres and styles. While he is primarily known for his R&B-infused pop songs, he has also experimented with different sounds and concepts, showcasing his range as a performer. One of JEY's unique qualities as an artist is his exceptional vocal ability. He has a smooth and soulful voice with a wide vocal range, which allows him to convey a range of emotions through his singing. His vocal performance is often characterized by sincerity, passion and depth.
One of JEY's unique qualities as an artist is his exceptional vocal ability. He has a smooth and soulful voice with a wide vocal range, which allows him to convey a range of emotions through his singing. His vocal performance is often characterized by sincerity, passion and depth. This can be seen throughout his works, such as his albums "Algorithm" and "Contact" with notable examples being "Silly" and "Sichimi (feat. Sik-K). "Silly" is likely a pop track with R&B, given JEY's musical background and style. It features smooth vocal melodies, modern production elements, and a catchy hook typical of contemporary R&B/pop songs.
His vocal performance is likely to be emotional and expressive, conveying the emotions of the song's lyrics. He can demonstrate his vocal range and control, particularly during climaxes or vocal runs. The lyrics of his songs revolve around themes of love, sadness, or longing. The song explores the feelings of sadness and reflection that come with the end of a relationship, with JEY expressing vulnerability and introspection through the lyrics. The arrangement of "Silly" and "Sichimi" likely features a mix of electronic and instrumental instruments. It may include elements such as synthesizers, keyboards, drums, and bass, creating a dynamic and exciting musical backdrop for JEY's vocals. The songs feature a clean, crisp sound quality and a balanced mix of instruments and vocals, allowing each element to shine. The melody of his songs is likely memorable and infectious, with a catchy hook that draws listeners in. Harmonically, the song may feature rich chord progressions and rich harmonies that complement JEY's vocal delivery.
Overall, his songs likely evoke a sense of nostalgia and emotion in listeners, resonating with anyone who has experienced the pain of a failed relationship. JEY's heartfelt delivery and relatable song lyrics make him stand out on his albums.
In addition to his musical talent, JEY pays attention to his visual aesthetic, often incorporating sleek and modern graphics into his music videos, album artwork, and promotional materials. His visual presentation complements his music, enhancing the overall experience for fans.
Overall, JEY is a talented and versatile artist who continues to captivate audiences with his bright vocals, captivating performances, and heartfelt music. With his passion for music and dedication to his craft, he has established himself as a rising star in the Korean music industry.
JEY inspired SIDE A (Me) of my EP. The soft sounds and the orchestration that gives a hazy effect, along with the simplicity of his songs, fit perfectly into the story of the White Swan to see the purity and shyness of the character.
— Tabber and Jey
Tabber and JEY (Jung Jinhyeong) are both talented artists within the realm of contemporary music, but they each bring their own unique style and sound to their work. Here are some potential differences in their music:
1. GENRE AND STYLE
- Tabber : Tabber's music may combine elements of R&B, hip-hop, and electronic music. His sound may feature soft vocal melodies, modern production techniques, and catchy hooks. He may experiment with the genre and incorporate innovative production elements into his tracks.
- JEY : JEY's music is also influenced by R&B, pop, and soul, but may lean more towards the R&B and pop spectrum. His style may be characterized by soulful vocals, emotional delivery, and heartfelt lyrics. He may focus on creating melodic ballads as well as more uptempo pop tracks.
2. VOCAL DELIVERY
- Tabber : Tabber's vocal delivery can vary depending on the song, but can include smooth singing, rap lyrics, and spoken word elements. He could emphasize the rhythm and flow in his delivery, complementing the rhythmic aspects of his music.
- JEY : JEY is known for his expressive and emotional vocal delivery. He could showcase his vocal range, control, and dynamics, conveying a range of emotions through his singing. His vocals can be the centerpiece of his music, engaging listeners with their sincerity and depth.
3. THEMES AND LYRICS :
- Tabber : Tabber's lyrics can touch on a variety of topics, including love, relationships, personal experiences, and social commentary. He may incorporate elements of storytelling, wordplay, and introspection into his lyrics, offering insights into the human experience.
- JEY : JEY's lyrics often explore themes of love, sadness, longing, and self-discovery. He can express vulnerability and introspection through his lyrics, connecting with listeners on an emotional level. His songs can offer poignant reflections on life and relationships.
4. PRODUCTION AND INSTRUMENTATION
- Tabber : Tabber's music may incorporate modern production techniques, including electronic beats, synths, and samples. He may experiment with sonic textures, layering sounds to create rich and atmospheric arrangements.
- JEY : JEY's music may incorporate a mix of electronic and organic instruments, with an emphasis on creating rich and dynamic musical settings. His songs may include live instruments such as piano, guitar, and drums, adding depth and warmth to the production.
While both Tabber and JEY are talented artists who excel in their respective styles, these differences in genre, vocal delivery, lyrical themes, and production contribute to their unique identities as musicians. And these differences are what make Tabber a perfect example of Black Swan and JEY a perfect example of White Swan. With Tabber, I take the heavy orchestral production, moody themes based on personal experiences, and social commentary as a perfect fit for Black Swan’s character and dynamics, portraying both confidence and rage. While JEY’s soft sounds and murky instrumentation, along with the simplicity of his songs to describe his vulnerability and introspection, are a perfect fit for the serenity of White Swan, portraying both purity and sadness.
— Tchaikovsky
Undoubtedly, the major inspiration for this EP came from classical masters such as Tchaikovsky. With the primary goal of creating a waltz-style musical narrative to embody the essence of ballet, the influence of Tchaikovsky’s compositions, particularly “Swan Lake,” resonated deeply. Exploring the thematic duality embodied by the White and Black Swans, I delved into Tchaikovsky’s work repeatedly, immersing myself in both the acoustic and visual realms by listening to his compositions and watching ballet performances. This immersive experience allowed for a deeper understanding of how music intertwines with choreography to evoke the mystical allure of these bird-like figures. Pyotr Ilyich Tchaikovsky was a Russian composer of the Romantic Period. He was the first Russian composer whose music would make a lasting impression internationally. Tchaikovsky wrote some of the most popular concert and theatrical music in the current classical repertoire, including the ballets Swan Lake and The Nutcracker, among other works.
ROMANTIC PERIOD
Romantic music is a stylistic movement in Western classical music associated with the period of the 19th century commonly referred to as the Romantic Era (or Romantic period). It is closely related to the broader concept of Romanticism – the intellectual, artistic, and literary movement that became prominent in Western culture from about 1798 to 1837.
Romantic composers sought to create music that was individualistic, emotional, dramatic, and often programmatic: reflecting broader trends in the Romantic literary, poetic, artistic, and philosophical movements. Romantic music was often ostensibly inspired by (or otherwise attempted to evoke) non-musical stimuli, such as nature, literature, poetry, the supernatural, or the fine arts. It included features such as increased coloration and moved away from traditional forms.
Key musical highlights of this period:
1. Emotional Expression
Romantic composers sought to convey deep emotions and personal experiences through their music. They often used rich harmonies, expressive melodies, and dynamic contrasts to evoke a wide range of emotions, from intense passion to deep melancholy.
2. Programmatic Music
Programmatic music became increasingly popular during the Romantic period. Composers drew inspiration from literature, nature, and other non-musical sources to create pieces that told stories or depicted specific scenes or moods. Examples include Berlioz's "Symphonie fantastique" and Liszt's "Les préludes."
3. Nationalism
Romantic composers often drew inspiration from their own cultural heritage and folklore, leading to the rise of nationalism in music. They incorporated elements of folk melodies, rhythms, and dances into their compositions, celebrating the unique musical traditions of their countries. Examples include Dvořák's Slavonic Dances and Grieg's Peer Gynt Suite.
4. Expansion of the Orchestra
The Romantic period saw significant advances in orchestral instrumentation and technique. Composers began to write for larger orchestras with expanded wind and percussion sections, allowing for greater sonic richness and complexity in their compositions. Symphonic poems and tone poems, pioneered by composers such as Liszt and Strauss, are examples of this trend.
5. Virtuosity
Romantic composers often wrote music that showcased the technical prowess of performers, particularly in solo and chamber music. Virtuosic works for piano, violin, and other instruments became increasingly popular, challenging musicians with intricate passages, rapid scales, and demanding techniques.
6. Expression of Nature
Many Romantic composers were inspired by the beauty and grandeur of nature, seeking to capture its awe-inspiring qualities in their music. They often used descriptive titles, evocative melodies, and atmospheric harmonies to depict natural landscapes, storms, and other natural phenomena. Examples include Beethoven's "Pastoral" Symphony and Smetana's "The Moldau."
7. Chromaticism and Dissonance
Romantic composers expanded the harmonic language of music, exploring richer coloration and increased dissonance to convey heightened emotional intensity and ambiguity. This departure from traditional tonal harmony opened the way for new harmonic possibilities in music, eventually leading to the emergence of atonal and impressionistic styles in the early 20th century.
The Romantic period was a time of musical exploration and innovation, characterized by an emphasis on emotional expression, programmatic narrative, nationalism, virtuosity, and the expansion of harmonic and orchestral possibilities.
The script for Swan Lake, originally in two acts, was created from Russian and German folk tales and tells the story of Odette, a princess who is transformed into a swan by the curse of an evil sorcerer. There is no evidence to prove who wrote the original libretto. Russian and German folk tales have been suggested as possible sources, including "The Stolen Veil", but both of these stories differ significantly from the ballet.
The key points of White Swan inspired SIDE A (Ego) of the EP :
THEME OF INNOCENCE AND PURITY
The music associated with the White Swan, Odette, often reflects themes of innocence, purity, and ethereal beauty. Tchaikovsky uses delicate melodies and soft orchestrations to convey these qualities, creating a sense of grace and elegance.
ADAGIO
One of the most iconic pieces associated with The White Swan is the Adagio from Act Two. This piece is characterized by its incredibly beautiful melody played by the strings, especially the solo violin. It captures the longing and sadness of Odette, who is under the spell of the evil wizard Von Rothbart.
VARIATIONS
Throughout the ballet, there are several solo variations and pas de deux that highlight the character of The White Swan. These variations often feature complex, moving melodies and are accompanied by rich orchestrations, underscoring Odette's vulnerability and inner turmoil.
CONTRAST WITH BLACK SWAN
The music for the White Swan stands in stark contrast to that of the Black Swan, Odile. While Odette's music is characterized by its tender and melancholic qualities, Odile's music is often more forceful, seductive, and assertive, reflecting her deceitful and manipulative nature.
The key points of Black Swan inspired SIDE B (Alter-Ego) of the EP :
THEME OF DECEPTION AND SEDUCTION
The music associated with the Black Swan, Odile, reflects themes of deception, seduction, and cunning. Tchaikovsky uses more vibrant and aggressive melodies, often accompanied by faster tempos and dramatic orchestrations, to convey Odile’s manipulative nature.
VARIATIONS
One of the most iconic pieces associated with the Black Swan is the Odile Variation in Act Three. This piece is characterized by its virtuoso and flamboyant passages, particularly for the violin and other solo instruments. It captures Odile’s seductive charm and power as she attempts to deceive Prince Siegfried.
PAS DE DEUX
The Black Swan pas de deux in Act Three is another notable piece of music associated with Odile. This duet between Odile and Prince Siegfried is full of tension and intrigue, as Odile tries to manipulate the prince into breaking his vow of love to Odette.
CONTRAST WITH BLACK SWAN
The music for Black Swan is in stark contrast to that of White Swan. While Odette's music is characterized by her tender and melancholic qualities, Odile's music is more aggressive and forceful, reflecting her deceitful and assertive nature.
The music in Tchaikovsky’s Swan Lake for the moments between the transition of the White and Black Swans is crucial in depicting the emotional tension and conflict in the ballet.
TRANSFORMATIONAL THEMES
Tchaikovsky often uses transitional music to suggest the changing emotions and commitments between the White and Black Swans. These themes bridge the gap between Odette’s purity and innocence and Odile’s deception and seduction.
VARIATIONS AND PAS DE DEUX
At moments where the characters of Odette and Odile interact or when Prince Siegfried is torn between them, the music reflects this inner and outer struggle. The variations and Pas De Deux between the prince and the swans feature melodies and orchestrations that capture the tension and conflict of the love triangle.
DUALITY OF THEMES
Tchaikovsky uses contrasting musical motifs to represent the duality of the White and Black Swans. The music for Odette often has tender and melancholic melodies, while Odile’s music is characterized by its more aggressive and assertive nature. These contrasting themes enhance the drama and tension of the ballet.
FORESHADOWING AND DEVELOPING
The music between the moments of the White and Black Swans also serves to foreshadow events and further develop the character arcs. Through subtle changes in rhythm, dynamics, and orchestration, Tchaikovsky builds anticipation and suspense that lead to key moments in the story, such as the climactic finale.
MOOD TRANSITIONS
As the ballet progresses, the music between the White and Black Swan moments can undergo changes in mood and tone to reflect the evolving narrative. From moments of tender romance to scenes of betrayal and deception, the music guides the audience on the emotional journey of the characters.
In summary, Tchaikovsky’s music for the transitions between the White and Black Swans in Swan Lake plays a crucial role in conveying the complex emotions and conflicts that are central to the ballet’s story. It captures the essence of love, betrayal, and redemption, making these moments integral to the overall dramatic arc of the piece.
EXPLANATORY NOTES
ROMANTIC EGOIST : Ego Love – Means that you do not truly love the person but love more what the person gives to you. And the moment that is taken away, there is no more to be gained from that relationship if there is nothing in exchange.
GOLDEN YEAR : the advanced years in a lifetime. The term "Golden Years" is often used to describe the phase of life that begins in one's senior years, typically after retirement.
WHITE LILY : Popular at both weddings and funerals, white lilies are believed to represent rebirth and purity. White Lily as it was said, symbolises rebirth and purity and it is used for both wedding and funerals. Like in the movie Nina finds herself through the role of the white swan, here the flower is a metaphor to me finding myself again and again (rebirth) and finding my peace and calmness (purity) through my white swan.
POINTE SHOES : also called a ballet shoe, is a type of shoe worn by ballet dancers when they perform. Pointe shoes were conceived in response to the desire for dancers to appear weightless and sylph-like and have evolved to enable dancers to dance en pointe (on the tips of their toes) for extended periods of time. They are manufactured in a variety of colors, most commonly in shades of light pink. Ballet dancers face acute and chronic conditions such as blisters, bunions, bruised toenails, achilles tendonitis, and degenerative joint disease. Although the grace of dancing on pointe is something so beautifully surreal.
PERSONAGE : A personality is what you thought you were. Personality is a physical matter almost entirely: it lowers the people it acts on. While the personality is active, it overrides ‘the next thing’. A personage gathers. It is never thought apart of what it’s done. It’s a bar on which a thousand of things have been hung —— glittering things sometimes, it uses those things in a cold mentality.
NARCISSUS : Symbolizing rebirth and new beginnings, the daffodil is virtually synonymous with spring. A beautiful youth in Greek mythology who pines away for love of his own reflection and is then turned into the narcissus flower. Even though Narcissus Off Duty is not a title created by me I chose it because of the meaning of the flower. Narcissus symbolizing rebirth and new beginnings, the daffodil is virtually synonymous with spring. A beautiful youth in Greek mythology who pines away for love of his own reflection and is then turned into the narcissus flower. Nina had a similar story. She was trying to find himself through mirrors (her mum, friend, ballet, her role etc) until black swan took over her she led herself to self distraction. So like Nina I try to find myself through the black swan with goal to achieve as much as I can until I reach my peak.
PEARLS OF JOY : In Greek mythology, pearls are said to be the tears of joy shed by Aphrodite, the goddess of love. She was born from sea foam, after all. Accordingly, Aphrodite (or Venus, as she’s known in Roman mythology) is frequently depicted wearing or in close proximity to pearls.
MOOD SWINGS : A mood swing is an extreme or sudden change of mood. Such changes can play a positive part in promoting problem solving and in producing flexible forward planning, or be disruptive. When mood swings are severe, they may be categorized as part of a mental illness. Mood swings can happen any time at any place, mood swings remain in the mild to moderate range of emotional ups and downs. It can also vary between normal struggles around self-esteem, through cyclothymia , up to a depressive disease. mood swings can extend over several days, even weeks: these episodes may consist of rapid alternation between feelings of depression and euphoria. Changing mood up and down without knowing the reason or external stimuli, in various degrees, duration and frequent, from high mood (happy, elevated, irritated) to low mood (sad, depressed). Sometimes it’s mixed, a combination between manic and depression symptoms or similar with bittersweet experiences that last for a day.
ABOUT
F. Scott Fitzgerald was born `in St. Paul, Minnesota, in 1896. He published his first novel, This Side of Paradise, in 1920, the same year he married Zelda Sayre. Fitzgerald’s masterpieces include The Beautiful and Damned, The Great Gatsby and Tender Is the Night. He died at the age of 44 while working on The Love of The Last Tycoon. Fitzgerald’s fiction has secured his reputation as one of the most important American writers of the 20th century.
Natalie Portman born in June 9 1981 is an American actress. She has had a prolific film career from her teenage years and has starred in various blockbusters and independent films, receiving multiple accolades, including an Academy Awards and twoGolden Globe Awards.
BIBLIOGRAPHY
DPR :
DPR IAN :
You.will.knovv :
Twitter : https://t.co/BsTIwIfz0o
YouTube : http://www.youtube.com/@youwillknovv
Tabber :
ALFA
YouTube : http://www.youtube.com/@alfha5663
JEY :
YouTube : http://www.youtube.com/@WMK
Djahwasi, H.R. (2021) (PDF) an analysis of artistic form and musical perspective of Romantic Era Music, An Analysis of Artistic form and Musical Perspective of Romantic Era Music. Available at: https://www.researchgate.net/publication/356191229_An_Analysis_of_Artistic_form_and_Musical_Perspective_of_Romantic_Era_Music (Accessed: 23 April 2024).
Rahman, Muhd.M. (2023) An overview of the romantic age, romantic poets and romantic poetry in English literature: A critical analysis, SSRN. Available at: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4516524 (Accessed: 23 April 2024).
CHAPTER 3: Royalties
A fundamental aspect of my research was understanding the rights for EP to ensure proper publication.
According to Law 2121/1993 “intellectual creators, by creating the work, acquire intellectual property over it, which includes...the right to exploit the work (economic right) and the right to protect their personal bond to it (moral right).
The intellectual right is acquired automatically without requiring an application by the creator or registration of the work in any service and both the economic right and the powers deriving from it, as well as the moral right, can be exercised automatically.
The economic right gives the creator the power to authorize or prohibit any public use of his work, essentially keeping for himself the claim to remuneration through its commercial exploitation.
The author may therefore transfer or grant a license to exploit only one or some of these powers, keeping the others for himself or granting them to others. The main individual powers (modes of exploitation) are:
Recording
Reproduction
Creating a derivative work
Distribution
Rental and public lending
Public performance and presentation
Broadcasting
Publication
Attribution
Integrity of the work
Access to the work
Withdrawal
Delete
Replace
Request permission
The moral right of the author also derives from the humanistic understanding of intellectual property and is unknown (at least to this extent) in the Anglo-Saxon copyright system. The basic assumption is that the author has a special bond with his creation beyond the right of economic exploitation. The work is an externalization of one's personality. It, like the property right, has individual manifestations. However, unlike the property right, it is non-transferable and the creator cannot waive it. The moral right, unlike the property right, does not translate into additional remuneration for the creator, it cannot be purchased. The individual powers are:
The copyright right has limitations, which aim to reconcile the protection of the creator with the right of the user to enjoy the acquired copy or creation and with the public interest. Greek legislation contains specific exceptions that are expressly provided for by law. Uses beyond these exceptions constitute an infringement of the creator's right. The limitations concern only the property right. The creator's moral right must always be respected.
The most basic exception is the use within the private sphere of the holder of a legal copy of the work. The user may reproduce it without having to pay a fee. Private use is that which takes place within the family and close social environment. However, private use may not hinder the normal exploitation of the work.
It is permitted, without the author's permission and without payment of a fee, to reproduce short excerpts of works for the purpose of supporting the opinion of the person reproducing the excerpt or criticizing the opinion of the original author and only to the extent that the reproduction is justified by this purpose.
In order to ensure the moral rights of the original author, the law stipulates that the quotation of the excerpt must be accompanied by an indication of the source and the names of the author and publisher, provided that these names appear in the source.
The reproduction of speeches, speeches, sermons, etc. by the mass media is permitted for the purposes of informing the public on current events, as well as summaries or excerpts of lectures given in public. The reproduction and transmission by the media of works presented in public is also permitted, to the extent that they are necessary for the purposes of describing current events and informing the public.
If third-party material has been used in our work, we should initially know whether its use is legal or not. In short, if we quote excerpts with the aim of supporting the opinion or criticizing it without affecting the author's moral rights over his work and provided that the source and the names of the author and publisher are clearly mentioned, we do not need to change anything. Copyright lasts for the life of the creator and 70 years after their death.
For anything I consider that I do not have a license to use, and therefore publish, I should:
Releasing an EP that includes both original songs and songs with samples involves several types of royalties. Here is a breakdown of the different types of royalties to consider:
1. Mechanical royalties: These are royalties paid to the songwriter/composer each time they create a copy of a song. For original songs that I have created, I will earn mechanical royalties. For sample songs, mechanical royalties should be paid to the original songwriters/composers of the sample material.
2. Performance royalties: Performance royalties are earned each time the songs are performed publicly (live performances, radio play, streaming services, etc.). As the songwriter/composer of the original songs, I will earn performance royalties. For sample songs, the performance rights will be shared between me and the original creators of the sample, depending on the agreements that have been made.
3. Synchronization Rights: If the songs are used in TV shows, movies, commercials, or video games, I earn synchronization rights. For original songs, I would earn these rights. For sampling songs, synchronization rights would have to be shared with the original creators of the sample material.
4. Master Recording Rights: These are rights earned from the actual recording. Since I am producing, mixing, and mastering the EP, I own the master recordings and will earn these rights for both original and sample songs. However, for sample songs, I will need to have acquired and possibly paid for the right to use the samples (via license or direct agreement).
5. Sample Clearance: For sample songs, permission from the original copyright holders must be considered. This usually includes:
- Master Use License: Permission from the owner of the original recording (usually a record label).
- Sample Clearance Fee: Payment to the copyright holder for the use of the sample.
- Copyright Negotiation: The original copyright holder may request a share of the royalties from the new work.
6. Publishing Rights: Publishing rights include the right to compose the song. For original songs, publishing rights must be checked and obtained. For sample songs, publishing rights are shared with the original songwriters/composers, based on agreements that have been made.
Steps to Managing Rights:
1. Register Your Songs: Verify that your original songs are registered with a Performing Rights Organization (PRO) such as ASCAP, BMI, or SESAC in order to collect performance royalties.
2. Obtain Sample Clearances: Secure the necessary licenses and agreements for the samples used in the EP.
3. Negotiate Splits: Work out the royalties split with the copyright holders of the samples.
4. Use a Distribution Service: Distributors such as DistroKid, TuneCore, or CD Baby can help manage and distribute the music, and some may help with collecting royalties.
It is important to manage these aspects properly to ensure that they are properly compensated for the work while respecting the rights of the original creators of the sampled material.
Due to the use of samples on this album, it is deemed necessary to clear the rights for the use and circulation of the intellectual property, so I register with the Self-Management companies or EDEM. There they will give me a 9-digit IPI number to identify the artist. On this particular album, the second side has been composed by another artist. If I want to sign a record label, I sign a record contract with two separate contracts. A publishing company for my intellectual property and a record label obtaining a percentage of the sales. Also, if I want to independently upload the album like on Spotify, YouTube and Apple music, I have to do it from an online distributor like TuneCore, DistroKid, CD Baby and Record Union.
CHAPTER 4 : The Process
PART 1
At first, he presented his challenges, particularly in terms of the album's conceptual approach. Initially, there was a divergence of ideas. One Path envisioned creating an atmospheric soundscape, with Side A (Ego) featuring uplifting, tender melodies, contrasted by a darker, more introspective tone for Side B (Alter Ego). However, the genesis of the inspiration, which has its roots in a ballet-themed film, prompted a shift towards music that favored dance. Thus, the concept of composing a waltz emerged. However, navigating the intricacies of music production proved daunting, coupled with his lack of formal musical training. Various strategies were explored to overcome this obstacle, including sampling and engaging with experienced musicians to kick-start the creative process through preliminary demos, thus clarifying the trajectory for each composition.
I started by looking for some inspiration from artists in waltz music. I looked to musicians like Tchaikovsky to get some ideas for how I wanted to approach The White and Black Swans. I downloaded a few songs to experiment with the piano sound as a base and do an arrangement with that, along with other instruments to get a general idea of the kind of sound I wanted to approach based on the emotions and lyrics of the songs. I started making some samples of the songs I had.
The songs I sampled were as follows:
I started choosing instruments and effects to accompany the songs to match the white swan vibe and the simplicity of the character.
I started choosing instruments and effects to accompany the songs to match the white swan vibe and the simplicity of the character.
In the meantime, I started looking for a musician to play piano and build the tracks with effects to achieve the right emotions and sound. I gave the pianist specific instructions on the goal of this EP through links and gave him some time to make some demos and try things out. The original idea was that the musician would compose both sides of the EP, but due to lack of time it was decided that the first side would be based on already existing songs but with different arrangements and instruments, while the second side would be composed. I started looking for a studio to record the pianist. After booking a day, I met with the musician and went there to record. The equipment we had was:
After we connected the microphones, I let the musician practice the songs and relax, once he was ready we started recording the songs he composed. After we took a few takes of what he had prepared, I took the takes and chose parts of them that fit the atmosphere of the tracks on the second side and started editing them. I chose instruments and effects to accompany the songs to match the black swan vibe and the complexity of the character.
The atmosphere of the songs comes from many younger artists such as DPR Ian, Tabber and JEY.
Strongly inspired by the Romantic Period, the EP conveys deep emotions and personal experiences through music. I have used rich harmonies, expressive melodies and dynamic contrasts to evoke a wide range of emotions, from intense passion to deep melancholy. (Rahman, 2023) (Djahwasi, 2021)
JEY inspired SIDE A (Ego) of the EP. The soft sounds and the orchestration that gives a hazy effect, along with the simplicity of his songs, perfectly fit the story of the White Swan to see the purity and shyness of the character. The music associated with the White Swan, Odette, often reflects themes of innocence, purity and ethereal beauty. Tchaikovsky uses delicate melodies and soft orchestrations to convey these qualities, creating a sense of grace and elegance. JEY is a perfect inspiration because his songs likely evoke a sense of nostalgia and emotion in listeners, resonating with anyone who has experienced the pain of a failed relationship.
This is why SIDE A doesn't have heavy effects, rather it has sounds that help create a nonchalant atmosphere.
Tabber inspired SIDE B (Alter - Ego) of my EP. The distorted sounds, moody themes and heavy orchestral accompaniment fit perfectly into the story of the Black Swan to show the confidence and rage of the character. The music associated with the Black Swan, Odile, reflects themes of deception, seduction and cunning. Tchaikovsky uses more vibrant and aggressive melodies, often accompanied by faster tempos and dramatic orchestrations, to convey Odile's manipulative nature.
This is why SIDE B has heavy effects instead of sounds, to help create the aggressive atmosphere. I also have to mention that the songwriting for Black Swan was good as it was, the piano alone perfectly described the emotions of the character representing the titles, so I didn't want to take away those emotions by adding other layers of instruments, so I focused on the effects and some ambient sounds.
In SIDE A I tried to describe the pure emotions by representing the White Swan with how I imagine the elegant movements would sound if they were music. Usually when I think about how the White Swan would dance I always imagine ethereal movements and a music like from a fairy tale. The music complements the silence of the movements. On the other hand, in SIDE B I tried to describe the intense emotions by representing the Black Swan with how the virtuoso movements would sound if they were music. When I think about how the Black Swan would dance, I always imagine demanding movements of attention and music. The music emphasizes the intensity of the movements.
PART 2
The first thing I did was to give an aesthetic direction to the album. I started by thinking about what theme I would like to portray on the album. The ideas and thoughts were endless until I arrived at the final EP cover art.
At first I thought it would be an easy process since I had made a board with images along with notes, to give a direction and explanation of how I wanted the EP, but it wasn’t. I had to contact many artists to reach the final result because I wanted the cover to be hyper-realistic, like a photograph, but most artists were not familiar with this style, so I had a hard time finding the right person.
I happen to come into contact with many artists. The process of doing this happened in a few steps. First I was asking people around me if they knew any artists, I started by asking my teachers and then my friends and classmates. After searching for artists, I reached out to them, I sent them links from my blog where I explain how I imagine the album cover would be. Unfortunately they had to decline the collaboration due to lack of time and lack of experience with the artistic style I wanted, so they recommended another artist but they also declined, so finally after a long search I finalized the artist who will do the cover.
I sent him a message on my blog link to see the aesthetics, I gave him the measurements and size of the EP along with the names of the tracks in the album title. After that we agreed on the money he would get for this job. He started sending me some examples of how the artwork would look until we finished on the cover.
FINAL ARTWORK :
PART 3
In the meantime, while I was working on my EP and collaborating with other artists, I also did some research. This research was divided into two parts: the first focused on the tracks for the EP and the second on understanding the album rights to ensure proper publishing.
I started by researching the track listing and the name of the EP, explaining the origin, performance, and meaning behind each title. My initial inspiration for this EP was F. Scott Fitzgerald’s book “This Side of Paradise” and Darren Aronofsky’s 2010 film “Black Swan,” which itself draws from the ballet “Swan Lake.” I analyzed the themes of both the film and the ballet, highlighting their similarities and differences, as well as their unique focal points. A significant portion of the EP revolves around the black and white motifs of swans. I delved into these characters, detailing their representation both aesthetically and technically within the album. The psychological aspects of the black and white swans, inspired by “Black Swan,” reflect the fluctuations of human mood. For “This Side of Paradise,” I provided an introduction to the story and characters. The book greatly influenced the thematic substance of the EP. Many of the track titles are derived from the chapters of the book, with each track representing a chapter and contributing to the overall narrative of the EP. Finally, I created a glossary to clarify the meanings of certain terms and titles, as well as to provide additional context for the information presented.
Now the second part of the research concerned the rights of the EP. Releasing an EP involves navigating complex rights structures, especially when balancing original compositions with sampled material. My research explored these complexities under different scenarios, including signing with an entertainment company versus operating as an independent artist. Central to this research is Law 2121/1993, which outlines intellectual property rights in Greece. This law automatically grants creators intellectual property rights upon creation, without requiring application or registration. These rights include both property rights (economic exploitation) and moral rights (personal connection to the work). Property rights allow creators to control and generate revenue from their works through various means, such as recording, reproduction, and public performance. Creators can transfer or license these rights, while retaining or granting other aspects as they wish. Moral rights, on the other hand, are inalienable and irrevocable, protecting the creator’s personal connection to the work. These rights include publication, authorship (attribution as author), integrity (protection from disparagement), access and the right to withdraw the work. The law also describes limitations and exceptions to these rights, aiming to balance the protection of the creator with the public interest and the rights of the user. For example, private use in a family or close social environment is permitted without remuneration, provided that it does not interfere with the normal exploitation of the work. In addition, short excerpts can be reproduced for commentary or criticism without permission, with appropriate attribution. Due to the use of samples on this disc, it is deemed necessary to clear the rights for the use and circulation of the intellectual property. I register with the companies Autodiheirisi or EDEM. There they will give me a 9-digit IPI number to identify the artist. On this particular disc, the second side has been composed by another artist. If I want to sign a record label, I sign a record deal with two separate contracts. A publishing company for my copyright and a record company getting a percentage of the sales. Also, if I want to independently upload the album like on Spotify, YouTube and Apple music I have to do it through an online distributor like TuneCore, DistroKid, CD Baby and Record Union.
the album is published at Bandcamp
All Links for my projects can be found at my Portofolio.