Author: Yael Mouhamadou

  • Week 10: Presentation Week (2)

    During this unit, I have developed a number of skills that I can say I can actively utilize in my newer practices. although I have found some easier than others, I am confident that the skills taught to me during this unit will definitely be used in my newer practices. During the first weeks, we…

  • Week 9: Presentation Week 1

    Summary of Introduction: A Fresh Look at Some Old Questions by Marina Terkourafi Hip hop’s globalization and cultural significance are covered in this first chapter, which also touches on the sociolinguistic, political, and artistic aspects of the genre. Terkourafi starts out by sharing her own experience of hip hop in the 1980s in Crete, explaining how…

  • Week 8: Summary Session

    in this weeks blog, i am analysing Producer/ artist P’ierre Bourne’s track “Southside” from his album, the life of pierre 5 (2021). This track is a prime example of pierres unique , simple but distinctive production style. i will explore pierres ability ro create complex soundscapes that go against the usual musical expectations. The song…

  • Week 7: Workshop producer #3 [Rashad Becker]

    In todays session, we explored the production process of musician Rashad Becker by producing sounds from scratch utilizing VCR Rack, which is a simulator of classic hardware synthesizers and drum machines. since this was my first time attempting to create sounds using a simulated machine like this, the process was challenging in many areas. the…

  • Week 6: Introduction to producer #3 [Rashad Becker]

    In this blog i am going to be analysing Rashad becker’s “Dances VII” track incorporating Schafer’s soundscape terminology and techniques. becker’s Dances VII at first glance is a complex piece that shows his unique way of exploring synthetic sound.The track is built up of broken microtonal melodies that differ from the standard semitones we hear…

  • Week 5: Workshop #2 [Moor Mother]

    in this session, our task was to explore my mother’s production method and sound to try replicate her sound. i partnered up with a classmate who did the drums, which also became a practice of collaboration. Although our task was to also utilize the sample clips provided to us and incorporate them in the production…

  • Week 4: Introduction to producer #2 [Moor Mother]

    Camae Ayewa mostly known by her stage name Moor Mother is a Philadelphia-based poet, musician, and activist famous for her experimental approach to music which some might call genre-bending and alternative. her music consists of elements of jazz, and hip hop with a combination of noise and spoken word which challenges the definition of music…

  • Week 3: Workshop #1 [RZA]

    During this session we explored producer/rapper RZA’s production process and researched the type of sampling techniques he uses for some of his biggest tracks from Wu tang clan. Me and a classmate experimented with the AKAIS2000 sampler which was a popular machine used during RZA’s time of production famous for it’s 16-bit sampler, capable of…

  • Week 2 : Analysis of Wu-Tang Clan’s “Protect Ya Neck,”

    “Protect Ya Neck” was produced by RZA, a founding member and the primary producer of Wu-Tang Clan. Released in 1993 as their debut single, the track is a powerful showcase of raw lyricism, grimy beats, and innovative production that helped define East Coast hip-hop. RZA’s minimalist approach, characterized by dusty drum loops, gritty samples, and…

  • Week 1: Introduction – Defining the Music Producer

    My name is Yael Mouhamadou, and I produce music under the name Bwser, a playful twist on the iconic Bowser villain from Super Mario Bros. For around five years now, I’ve been using FL Studio to create beats, and in that time, I’ve fallen deeply in love with underground subgenres, especially the experimental and niche…