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University of Huddersfield Repository University of Huddersfield Repository Saunders, James Developing a modular approach to music Original Citation Saunders, James (2003) Developing a modular approach to music. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/5942/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ CONTENTS Table Figures of ............................................................................................................................iv Acknowledgements ........................................................................................................................vi Abstract ....................................................................................................................................... vii I. Short Pieces ............................................................................................................................... 1 A Standard Duration? ............................................................................................................... 1 On Form(and duration) extended .............................................................................................4 Memory the Perception Duration in Music and of ...................................................................... 11 Issues involved in composing short pieces................................................................................ 14 Strategies for Composing Short Pieces ..................................................................................... 17 Developing Performance Context a .......................................................................................... 23 A Non-standard Duration? ....................................................................................................... 24 II. Compositions 1996-2000 .......................................................................................................... 26 Those birds (1996) ................................................................................................................. 27 (1996-8) u ntitleds ................................................................................................................... 30 Preventing fluidity (1997) ........................................................................................................ 34 Like (1998) wool ..................................................................................................................... 37 Compatibility hides itself (1998-9) ............................................................................................ 41 Scanning trees (1999) ............................................................................................................. 43 511 (1999) possible mosaics ................................................................................................... 47 Fingers barely (1999-2000) touching ....................................................................................... 48 Five & Twelve (2000) pieces pieces ......................................................................................... 49 III. Modular Music ........................................................................................................................ 56 Designing Modular Systems ..................................................................................................... 56 Modularity Mobility in and other arts ........................................................................................ 58 Modular Music ........................................................................................................................ 63 IV. #[unassigned] ........................................................................................................................ 74 Overview #[unassigned] of ..................................................................................................... 75 #[unassigned] in context ........................................................................................................ 86 Conclusion ................................................................................................................................... 97 SourcesConsulted ........................................................................................................................99 Appendix ................................................................................................................................... 103 Complete list of #[unassigned] 103 versions of ............................................................................. Tableof Figure 1: Duration in the HuddersfieldContemporary Music Festival, 1991-1999 1 of pieces ................. Figure 2: Duration in the British Music Information Centre 2 of pieces archive ..................................... Figure 3: Patterning in Morton Feldman'sPiano, Violin, Viola, Cello(bars 1-27) 6 ................................. Figure 4: Morton Feldman Piano, Violin, Viola, Cello(bars 1-27) 7 - ..................................................... Figure 5: Manfred Werder 302) 9 - stuck1998(page .......................................................................... Figure 6: Anton Webern Drei kleine Stücke Op. 11, No. 1 19 - ............................................................. Figure 7: ]liat Stil/Life #6 22 - .......................................................................................................... Figure 8: Rhythmic in ThoseBirds 27 structure ................................................................................... Figure 9: Rhythm/pitch for ThoseBirds (excerpt) 28 structure ............................................................. Figure 10: Opening of ThoseBirds showing pitch shadowing and use of rhythm/pitch structure as a framework 29 ................................................................................................................................... Figure 11: 5(1997) transfer from 31 untitled and method of rhythm/pitch structure ............................. Figure 12: Tempo Fluidity structure in Preventing ........................................................................... 35 Figure Preventing fluidity 13: Structure of time points in ................................................................. 36 Figure 14: Generation Cellular Automata of .................................................................................... 37 Figure 15: Rhythm/pitch for Like Wool (opening) structure ............................................................ 39 Figure 16: Development in Like Wool from of tuba part rhythm/pitch structure ................................ 40 Figure 17: Compatibility hides itself- Development of piano part .................................................... 43 Figure 18: Plan for constructing pitch/rhythm structure in Scanning Trees,showing derivation of by drawing 45 rhythm perpendiculars................................................................................................. Figure 19: Plan for in Scanning Trees spacing pieces ...................................................................... 45 Figure 20: Composition 'V' from Scanning Trees workings of ........................................................... 46 Figure 21: Sketch showing the construction of the bass trombone part In 511 possible mosaics........ 48 Figure 22: Interlocking titles in the Franco Donatoni 51 music of ......................................................... Figure 23: Diagram the interlocking in 52 showing potential of pieces epeioand cir/ ............................ Figure 24: Time for Five Pieces 53 structure ....................................................................................... Figure 25: Time for Five Pieces Twelve Pieces 55 structure and ........................................................... Figure 26: Carl Andre Equivalentsl-Vlll 59 - ...................................................................................... Figure 27: Raymond Queneau from 100,000,000,000,000Poems 60 - sample permutation .................. Figure 28: Magnetic Poetry 61 ........................................................................................................... Figure 29: Dan Flavin (to Piet Mondrian lacked 1966 62 - greens crossing greens who green), .............. Figure 30: Dan Flavin (to Robert, Joe Michael) 1975-81 62 - untitled and ............................................. Figure 31: Dan Flavin V Tatlin (1966-9) 62 -'Monument'for ............................................................... Figure 32: Earle Brown 25 Pages(page 1) 67 - .................................................................................
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