T pina
K.
Kissel
Senior Honors
Composition Recital
November
3, 2000
Ball State Unlvef'sity
Muncie, Indipna
Ihesis Advisor>:
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Decernbf'p
lR, .2000
This project is the culmination of several semesters of composition lessons and
electronic music classes. A recital is presented in the last semester of undergraduate
study, and includes a mixture of instrumental and electronic music. This compilation of
work contains a discussion of important thought processes involved when composing
electronic music which parallel general instrumental musical ideas, such as dynamics,
rhythm, and motives, the original recital program, program notes which explain the
inspiration for the music, and the manuscripts of music.
Composing Electronic Music:
MlJsica I Correlations
between
Electronic and InstPlJmental music
Listening to a concert of electronic music can sometimes be unnerving for an
audience. The combination of unfamiliar sounds into an unrecognizable musical form
can cause the audience to perceive the piece as boring, unintentionally humorous, or too
bizarre to be appreciated. The challenge when composing electronic music is to creatc a
new "soundscape," which the audience can identify as a musical whole. The most
important aSpt~ct when creating an effective piece of electronic music is for the composer
to think of it as a traditional piece of music. It should possess motives, dynamic
variations, rhythmic structures, and form.
I composed two pieces that possess these characteristics most obviously, A
Jawbone in the Yard and Endeavors. Musical form is vital to both of these pieces. In A
Jawbone in the Yard, the form is a miniaturized three-movement symphony. I chose to
write an electronic piece in movements because my compositional ideas are generally
very short. I envisioned a set of musical vignettes, where the overall piece had a form,
but the effect created in each was very different. The first and third movements have a
quicker tempo; that is, the events are short in duration and layered in a way that gives the
listener the impression of events occurring quickly. The second movement is similar to a
"slow movem(mt" in the sense of a traditional symphony. It is slightly longer and
textural changes are introduced more slowly. The movement is meant to evolve from
one soundscape to another over time. Endeavors has a completely different form and
style. It is very similar in length but is not divided into movements. Endeavors is in
binary form, where section A is based upon the sounds of a tractor, section B uses a
toothbrush sound as its basis, and then it returns to a very similar sound, though
abbreviated in form, of the original A section. Often times, a great deal of consideration
is taken when deciding the form of a piece; however, I knew right away that I wanted
Fndeavors to be unified with a tractor starting at the beginning ofthe piece and a tractor
dying at the end.
In some electronic music, there may be no obvious motivic element. Often
motives are simply one electronic sound which recurs throughout a piece. Motives can
also be a combination of sounds, which may create a rhy1hm. In my compositions, I try
to create motives which are identifiable by the sound alone, by the pitches of the sound,
or by the rhythm. For instance, in A Jawbone in the Yard, the first motive is the opening
sound by itself, created from a pig squeal. When listening carefully, this pig squeal has
three distinct ascending pitches. The next sound I introduce, a plastic sound created by
hitting things with a short tube, I pitch shifted three times, so that it matches the three
ascending pitches of the squeal. I then tried to match these three pitches to the rhythm of
the pig squeal. The extent of my effort to create related motives may not be immediately
obvious to the listener, but the overall effect becomes a more unified whole because of
the motives. The second section of my composition, Endeavors, illustrates how a sound
that is used motivically can be combined with another sound to create a new motive. I
use two separate and distinct toothbrush sounds in the section. After using both
individually, I fuse them together, which creates a new motivic element. Motivic
relationships also aid the listener in understanding where the piece is going. If motives
occur more quickly and higher in volume, the listener will understand that a climax is
being reached, which could signify the ending of a piece or section.
Although electronic music does not always include overt rhythmic structures, in
my compositions they are often extremely important. Just as there are moments in some
instrumental music, such as Stravinsky'S The Rite a/Spring, that is defined by an intense
rhythm but does not have a discernible melody, when composing electronic music, I
strive for a recognizable rhythmic pattern that continually occurs. The rhythms in most
of my electron 'lc music could be written out in the standard musical notation system, and
sometimes I even find myself whistling or humming them. Rhythmic structures occur in
my compositions in two ways. Sometimes a sound by itself or combined with other
sounds creates a rhythm. Many sounds also become rhythmic after some repetition. I
use both of these methods to create rhythmic motives.
Although many pieces of electronic music sound very random to audience
members who have not been exposed to a great deal of electronic music, much thought is
put into the music by the composers. Karlheinz Stockhausen, who composed electronic
music in the 1950s and 60s, published a score to his piece Kontakte, for piano,
percussion, and tape. He developed a complex notational system which covered every
aspect of his music. I attempted to musically notate one of my electronic compositions,
before 1 began the process of actually constructing the piece. My notational system
included colors for ranges of pitch, dots and lines for shorter and longer durations, and
sparse and dense areas that reflected texture. Although my finished product did not
follow my original notation exactly, the process of symholizing my music with shapes
and colors helped me visualize the form and find unifying characteristics that I would use
throughout.
I believe that electronic music has not become more popular because the average
audience member can not discern the relationships between electronic and instrumental
music. Although the musical attributes may not be immediately obvious, most electronic
music pieces do possess some of these characteristics, such as motives, form, dynamic
variations, and rhythmic structures.
Recital ProgPOm
and Ppogram Notes
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TRINA K. KISSEL
in a
SENIOR HONORS COMPOSITION RECITAL
Fanfare (1998) .............................................. Trina Kissel
for piano
(b.1978)
Linda Rabadi, piano
Sedimentary (1999)
for stereo tape
Test of Valor (1999)
for trumpet and two French homs
Paul Geraci, trumpet
Travis Golliher and Matt Doublestein, French hom
Sonorous (1998)
for stereo tape
Four Country Scenes (1999)
I. Cemetery
II. The Windmill
III. The Old House
IV. Abandoned Bam
Stephanie ROY, piano
Endeavors (2000)
for stereo tape
Three Poems (1999)
I. Look back in time
II. When roses cease to bloom
III. It's such a little thing to weep
Kathleen Odefay, voice
Jennifer Gaskill, flute - Katie Rosenthal, piano
I Wander in Darkness and Sorrow (2000)
for stereo tape
A Jawbone in the Yard (an unusual way to lose a friend) (2000)
in three movements
for stereo tape
Trina Kissel is a student of Cleve Scott and Jody Nagel
and the recipient of a Young Artist Award and the Mary Ogden Siverly Scholarship.
She is a member of Sigma Alpha Iota,
International Fraternity for women in the field of music;
Goiden Key National Honor SOCiety; Pi Kappa Lambda, National Honor Society in Music,
and the Ball State University chapter of the Audio Engineering SOCiety.
This recital is presented in partial fulfillment of the requirements
for the degree Bachelor of Music with a major in Music Engineering Technology
and for the Honors Program at Ball State University.
PRUISHALl
SerieslV
Friday,November3,2000
Number 41
8:00p.m.
In keeping with copyright and artist agreements, use of recording
and photographic devices is not permitted by other than approved university personnel.
We request your cooperation.
For performance information, call the SchOOl of Music Hotline, (765) 285-5878.
~!~
~
....
:
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Program Notes
Trina Kissel
November 3, 2000
Fanfare, for piano
Fanfare is the first composition I wrote, and the assignment was to use a set of four
intervals which would always remain the same. At first, being very nervous to commit to
pitches on paper, I used my sister's keyboard, which could only record one note at a time.
T played all four notes simultaneously over and over, and then took melodic dictation
during playback with the resulting notes that the keyboard detected as hit first. However,
my random approach wasn't exceedingly musical, so Thad to give up and write my own
music. I decided to stay within the original pitches that I chose, B, CH, E, FH, for as long
as possible. Most of the phrases of the piece only use these four notes, with the
exception of two phrases which modulate to four new pitches.
Sedimentary
Sedimentary is a piece in two sections. The first is shorter, and contains sound sources of
gravel falling down a roof, hitting concrete blocks with a hammer, and a pitched sound
produced by the Yamaha TX81Z. I thought of the concrete blocks as a motive, which I
began slowly and increased in number and in volume to the climax of the first section.
The second seetion is longer and uses sounds of cooking steak on a grill and walking in
gravel. I also used the K2000 and the TX81 Z in this section. I use the sound of sizzles to
set up a rhythmic beat, which increases in speed three times as the piece progresses. The
finale is a Max patch that chooses a random pitch faster and faster and then abruptly cuts
off. I used Peak and SFX Machine to create the audio samples.
Test of Valor
This piece is the most recent of my acoustic compositions. I chose thrce brass
instruments for the contrapuntal texture that I had in mind. I wanted each part to be
equally important. The three players interact with complex rhythms and textures. The
form ofthe piece is in three parts. The first section is in C minor and is fast-paced and
often uses intervals of a major or minor second between instruments to increase tension.
The second seGtion is mostly in F major and is slower and melodic. The third section
returns to C minor and is reminiscent of the first section.
Sonorous
This piece was composed using the computer program A1ax. My intent in this piece was
to create a certain sonority by layering sounds that are familiar to the listener. I used
preset and slightly modified K2000 sounds such as glockenspiel, bongos, piano, and
flute. The changing parameters of this piece all use a counting object. The counter
controls the volume, creating a crescendo and diminuendo effect. It also controls how
quickly the random number generator receives information, which varies the speeds that
the instruments play. There are various other effects also controlled by a counter.
Four Country Scenes
These four movements are written with a simplt: melody and a static accompaniment.
The melodies are based upon the heptatonia secunda modes. The mood of all four
movements seems to be somewhat forlorn, and the titles reflect this mood.
Endeavors
Endeavors is a study in rhythmic interactions. The sound sources I used for this piece
include: a two-cylinder John Deere tractor, Velcro, aluminum foil, steel wool, and my
sister brushing her teeth. Sounds from the tractor are used nearly every moment of the
piece. Fndeavors begins and ends with a tractor starting and dying. The most important
features of this piece are the rhythmic motives, which I create with the tractor, the
Velcro, and the toothbrush. This piece was created using Metasynth, Peak, SFX
Machine, and ProTools.
Three Poems
1 chose three short poems by Emily Dickinson for these movements. I attempted to make
the words as intelligible as possible through speech-like rhythms and pitch inflections.
T. Look back on time with kindly eyes,
He doubtless did his best;
How softly sinks his trembling sun
In human nature's west.
n. When roses cease to bloom, dear,
And violets are done,
When bumble··bees in solemn flight
Have passed beyond the sun,
The hand that paused to gather
Upon this summer's day
Will idle lie, in Aubum,Then take my flower, pray!
ID. It's such a little thing to weep,
So short a thing to sigh;
And yet by trades the size of these
\Vc mc:n and women die!
T wander in dal'kness and sorrow
This is an electronic piece based on the reading of a poem. I chose to have my sister read
a portion of Tennyson's poem, "1 wander in darkness and sorrow." All the sound sources
were created using her voice. Intelligibility is meant to fade in and out. Operations
employed to manipulate the voice include pitch shifting, time stretching, and granular
synthesis. I med Metasynth and ProTools to produce this piece. The two stanzas she
read are:
I wander in darkness and sorrow,
Unfriended, and cold, and alone,
As dismally gurgles beside me
The hleak river's desolate moan.
The rise of the volleying thunder
The mountain's lone echoes repeat;
The roar of the wind is around me,
The leaves of the year at my feet.
I wander in darkness and sorrow,
Uncheered by the moon's placid ray;
Not a friend that I Joved but is dead,
Not a hope but has faded away~
Oh! When shall I rest in the tomb,
Wrapt about with the chill winding sheet?
For the roar of the wind is around me,
The leaves of the year at my feet.
A jawbone in the yard (an unusual way to lose a friend)
Tchose to write an electronic piece in three movements because my compositional ideas
are generally very short. I envisioned a set of musical vignettes, where the overall piece
had a form, but the effect created in each was very different. The sound sources I chose
for this piece were all collected at my family's farm. The first movement, which I
affectionately call, "a pig's monologue," I used sounds from adult and baby pigs. I also
used walking m gravel, and a plastic tube hitting things. The second movement (which
doesn't have a clever name) is the "slow" movement, if one is imagining a typical
three-movement form. It uses sounds obtained by hitting the blades of a tractor disk with
a plastic tube. It also contains the sound of cats. The third movement (which I call "a
cat's aside," fi)llowing the dramatic title of the first movement) uses the meow ofa kitten
and gravel fal1ing down a roof. This piece employed Metasynth, Peak, SFX Machine,
and ProTools. I promised my parents that I would not explain the title ofthis piece.
(Just imagine growing up on a pig farm).
CompQs,tions
Fanfare
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Acknowledgments
I would like to thank my thesis advisor, Dr. Cleve Scott, for overseeing this
project and my recital, and for giving me composition lessons. I would also like to thank
Dr. Jody Nagel for many semesters of composition lessons. My family and friends also
deserve many thanks: Mom, Dad, Carrie, Christine, and Josh.