Senior Composition Recital
An Honors Creative Project
(HONORS 499)
by
Matthew G. Owen
Thesis Advisor
Dr. Cleve Scott
Ball State University
Muncie, Indiana
March 28,1993
graduation date May 8,1993
Purpose of Creative Project
Each composition presented on this recital was undertaken as
an attempt to correlate materials learned in a variety of classes while
at Ball State University. The interdisciplinary nature of the Music
Engineering Technology program provided the resources to
accomplish this task. The required knowledge of physics, analog
sound synthesis, and twentieth century electronic music led to
Reflections (Studies in Analog Synthesis). The two acoustic
compositions Mechanism I and Mechanism II combine skills learned
in music composition, music perception, music history,
instrumentation, orchestration, etc ... Furthermore, performance
considerations learned in the required instrument performance
minor were valuable in writing playable pieces. The use of
computers to generate and control music in Sculptured Sound added
a further dimension. The last piece written for the recital, Tension
Derivation, utilized information from all of the aforementioned areas
as well as ideas imported from outside the realm of class work. This
composition is an electroacoustic work which consists of acoustic
instrumentation with electronically derived sounds. The ultimate
objective of these compositions was to reach a familiarity with the
material necessary to produce compositionally relevant music in any
style.
,-
Reflections (Studies in Analog Synthesis)
This piece bears the fruit of my first encounters with analog
synthesis. The sounds were created on the Serge Modular System
and the Korg MS20 synthesizers. The analog synthesis techniques
used in this piece include Frequency Modulation both audio and subaudio, Amplitude Modulation, and filtering. This is accomplished by
physically connecting or "patching" various voltages from wave
generators, voltage control amplifiers, voltage control filters,
envelope generators, triggers, etc ... to create sounds.
Mechanism I
Mechanism I is the result of a four year evolution. It began
--
__
the summer before my sophomore year while playing guitar
through a delay unit. Within a short time of composing the main
theme, I had fashioned a short song, three sections in length.
Realizing that I liked what I had but that it was unfinished, I left the
song for a while. About one year later, I was asked to playa song on
guitar for a friend. Choosing to play this unrefined composition, I
realized that bass notes would help solidify the form by making the
key structure more apparent. This song was to become Mechanism 1.
In this state the song remained untouched until Fall semester 1992.
I was leaving recital hour having just heard two pieces played on
marimba. As I walked, I was singing to myself. The song was
Mechanism 1. However, the instrument playing was no longer guitar;
it was marimba. It was at this point that I realized that this little
song on my guitar could be an acceptable, academic piece to be
performed on my recital.
The basic concept of Mechanism I is a minimalistic treatment
of a tonal gesture. In addition, I brought forth a philosophy that a
piece written for an instrument should be unique to that instrument.
As a result, I set out to expand the ideas present on guitar to involve
the marimba in a capacity that would make performance on the
guitar impossible. I wanted to keep the effect originally heard using
the delay unit present on the marimba. This was accomplished
-
-
through a percussive technique called double sticking. Essentially, it
means hitting the same note twice within its written note duration.
Due to the layout of the marimba, it was possible to continue the
effect of double sticking an octave apart. This led to an interesting
psychoacoustic phenomena. In the sections of the piece composed of
long passages of sixteenth notes, changing the placement of the
upper octave from on the beat (the first sixteenth note of a two note
group) to the anacrusis (the second note of the group), causes the
ears' sense of the location of beat one to slowly change until the
upper octave is perceived to be on the beat. Upon switching the
upper octave back to beat one or placing a low note on beat one, the
ear must suddenly redefine its perception of the location of the
downbeat.
Another major component of the composition is the use of the
original eight note pattern as well as variations on the pattern seven,
six, and five notes in length. These different note groups provide the
necessary deviation to keep the audience interested in listening to a
very repetitive melodic statement. During the eighth note sections of
the piece, these different note groups used simultaneously created
counterpoint the complexity of which was controlled by the number
of note groups being played, their register, and the point of entry of
each group. The easiest counterpoint to hear would be counterpoint
at the octave using note groups of the same length one or two beats
apart. The hardest counterpoint for the ear to follow would be all
four note groups starting at once in the same register. This would
give the effect of a sound texture: notes would be heard, but their
relationship probably would not. By varying the degree of
contrapuntal complexity, I created a sense of tension and release. I
created form. Most importantly, I created a piece that could be
enjoyed by a musically educated audience as well as a general
concert audience.
The piece was originally written for two marimbas; however, it
was revised for four marimbas to facilitate a good performance in
time for my recital. For the future, I plan to keep the version for two
marimbas as well as write a version for four marimbas to be played
by high school and college marimba ensembles.
Tension Derivation
Tension Derivation was originally conceived as a piece for
manipulated versus non-manipulated violins. All of the parts in the
non-manipulated (acoustic) score were performed by Nelson
Dougherty and recorded one track at a time in both the digital and
the analog domains. The manipulated violin sounds were derived
from these recordings using classic studio techniques in the digital
realm available within the Macintosh application Sound Designer II.
These manipulated sounds provide contrast to the violin section.
The graphic score for Tension Derivation was carefully drawn
on graph paper. The horizontal scale represents time while the
vertical scale represents frequency. Graph paper as opposed to the
traditional five-line staff was used for the ability to represent halfsteps as equally spaced distances. This allows the performer to see
the exact relationship between distance and pitch. This relationship
resulted in a very accurate performance of the score with
considerably less rehearsal then would have been need if a
traditional score were used.
Sculptured Sound
Sculptured Sound is the result of a semester-long project for
_
MusTh 434. The compositional material was created using the
computer language APL and subroutines called MPL. The melodic
content consists of circles of perfect fourths and tritones creating
periodic patterns of varying note numbers. Six of these patterns
were used, each being a factor of 288 in length. A rhythm and a
tempo were assigned to each line, and this information was sent to
the Mark of the Unicorn sequencer application Performer. The
sounds triggered by this Performer file were created using the Kawai
KSm, the Yamaha TX802, and the Yamaha TX816 digital synthesizers.
The Kawai uses additive synthesis, while the Yamaha equipment uses
Frequency Modulation synthesis. These sounds were mixed using
the Yamaha DMPll digital mixing processor. This mixer was also
controlled by the Performer file allowing adjustment of individual
panning and volume levels from within the "score."
Mechanism II
Mechanism II is written for woodwind quintet. This piece was
-
started Spring semester 1991, and was completed Spring semester
1993. Its melodic content consists of a four note pitch class set and
many of its transpositions. The intervals of the prime set are major
second, minor second, and minor third. The most commonly used
transposition is the tritone. Since the prime set has a distance of a
tritone fr01n its first to fourth note, the transposition at a tritone
starts on the last note of the prime set and ends on the first note of
the prime set thus adding only two new notes. The use of these
interlocking sets provide the fundamental melodic organization of
the composition. Rhythmically, Mechanism II employs a consistent,
mechanical quarter note pulse. This pulse is most often subdivided
in two and four; however, the use of hemiola and an occasional five
notes against four provide contrast to the strong pulse. Dynamics
and orchestration provide other prominent sources of contrast. The
resulting textures created a heightened sense of structure in addition
to a sense of drama and excitement.
Due to the unavailability of an oboe player, the score was
revised to incorporate soprano saxophone. This was not a change I
wish to keep. The timbre and performance characteristics of the
saxophone are significantly different enough that it cannot play the
role of an oboe in this piece. The slightly harsher sound and the
absence of a comfortable pianissimo dynamic level in the register
scored for oboe resulted in the saxophone gaining an undesired
prominence in the overall texture.
Mechanism I
Matthew Owen
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