1.Title Page

LUBOK BEBOP

Spence Townsend

B.F.A., The University of Southern Mississippi, 2005

A Report Submitted to the Lamar Dodd School of Art of the University of Georgia in Partial

Fulﬁllment of the Requirements for the Degree

MASTER OF FINE ARTS

Spence Townsend

Approved:

______

Benjamin Britton, Major Professor

5/2/16 DEDICATION:

I would like to dedicate this work to my wife, Julia, who’s love and support have made these three years of research possible.

iv ACKNOWLEDGEMENTS:

I would like to thank my committee members: Benjamin Britton, Christopher Hocking,

Stefanie Jackson, Margaret Morrison, and Mark Callahan. Your mentorship, knowledge, and feedback have been invaluable during my studies at the Lamar Dodd School of Art.

I would also like to leave a message for future students reading this: Both David Bowie and Prince have died this year, leaving giant holes in our collective artistic and musical consciousness. Let’s be bold and ﬁll their shoes.

v. TABLE OF CONTENTS

DEDICATION…………………………………………………………………………………………….iv.

ACKOWLEDGEMENTS…………………………………………………………………………………v.

LIST OF IMAGES………………………………………………………………………………………viii.

CHAPTER

I. INTRODUCION OF THESIS

A. prologue……………………………………………………………………………..2

B. evolution……………………………………………………………………………..5

II. HISTORICAL PRECEDENCE IN VISUAL ART

A. Klee………………………………………………………………………………….14

B. Ciurlionis……………………………………………………………………………16

III. EXPLANATION OF PROCESS

A. my visual voice……………………………………………………………………..19

B. funky paintings……………………………………………………………………..21

C. MAX research….…………………………………………………………………..25

IV. LUBOK BEBOP: THESIS PROJECT

A. crows caw (morning) / lubok bebop soundbox…………………………………30

B. i can hear your breath……………………………………………………………..31

C. crows caw (night)………………………………………………………………….33

V. CONCLUSION

A. plans………………………………………………………………………………..35

vi. VI. BIBLIOGRAPHY…………………………………………………………………………..37

VII. APPENDICES

A. crows caw (morning) - orchestral score

B. lubok bebop - compact disc

track 1: crows caw (morning)

track 2: i can hear your breath

track 3: crows caw (night)

vii. LIST OF IMAGES

1. MacKaye, Ian. untitled (musical drawing exercise). crayon on paper,

8.5” x 11”, 2005………………………………………………………………………………….2

2. Townsend, Spence. coloring book. oil on canvas, 30” x 40”, 2013……………………………..5

3. Townsend, Spence. chelsea patternz. acrylic on four panels, 30” x 168”, 2014………………6

4. Townsend, Spence. the wolves and the dogs. oil on canvas, 39” x 39”, 2014…………………7

5. Townsend, Spence. aesop songs (album cover). digital drawing, 12” x 12”, 2014…………….7

6. Townsend, Spence. aesop songs listening station. wood, pencil, mp3 player,

monophonic headphones, 20” x 14”, 2014……………………………………………………7

7. Townsend, Spence. Miss Harmony Columbine spends her birthday cash.

oil on canvas, 21” x 17”, 2015…………………………………………………………………..9

8. Townsend, Spence. black juniper. oil and screen print on panel.

41” x 49”, 2015………………………………………………………………………………….10

9. Townsend, Spence. black juniper listening station. wood, canvas,

charcoal, mp3 player, speaker, 20” x 14”, 2015……………………………………………..10

10. Townsend, Spence. french kiss. oil and gold leaf on panel. 43” x 32”, 2015………………..12

11. Anonymous. Bodhisattva Samantabhadra. Digital Image. Pinterest.

N.p., n.d. Web. 1 Apr. 2016……………………………………………………………………12

12. Klee, Paul. Ad Parnassum. oil on canvas, 39” x 49”, 1932.

Digital Image. Artchive.com. N.p., n.d. Web. 1 Apr. 2016………………………………….14

13. Čiurlionis, Mikalojus K. Fairy Tale Castle. tempera on canvas, 19” x 26”, 1909.

Digital Image. Wikipedia. N.p., n.d. Web. 1 Apr. 2016……………………………………..16

14. Čiurlionis, Mikalojus K. Sonata VII (Sonata of the Pyramids). tempera on paper,

29” x 23”, 1909. Digital image. Ciurlionis.eu. N.p., n.d. Web. 1 Apr. 2016……………….17

viii. 15. Anonymous. The Cat of Kazan. woodblock print, dimensions unknown, 1698.

Digital Image. myweb.rollins.edu. Web. 1 Apr. 2016……………………………………….19

16. Nutt, Jim. Miss T. Garmint (she pants a lot). acrylic on plexiglass, 72” x 48”,

1966-67. Digital image. Bombmagazine.org. Issue 114, Winter 2011.

Web. 1 Apr. 2016……………………………………………………………………………….21

17. Townsend, Spence. blonde ambition tour. acrylic on panel, 48” x 40”, 2014………………..22

18. Townsend, Spence. the cat and the mice. oil on canvas, 49” x 49”, 2014…………………..24

19. Townsend, Spence. MAX patch screenshot: lubok bebop color patch.

digital image, 2016……………………………………………………………………………..25

20. Townsend, Spence. detail of MAX patch screenshot: lubok bebop color patch.

digital image, 2016……………………………………………………………………………..27

21. Townsend, Spence. lubok bebop color wheel. digital image, 2016…………………………..29

22. Townsend, Spence. lubok bebop soundbox / crows caw (morning).

wood, acrylic on canvas, mp3 player, speaker,

20” x 15”, 9 min. (audio), 2016………………………………………………………………..30

23. Townsend, Spence. i can hear your breath. oil on canvas, 51” x 61”, 2016………………..31

24. Townsend, Spence. crows caw (night). 58” x 73”, 2016……………………………………….33

25. Townsend, Spence. lubok bebop: museum installation.

photo of paintings and soundbox, approx. 20’ x 73”, 2016………………………………..35

ix. prologue

I’ve always felt like an artist whose work doesn’t really ﬁt into a prescribed venue. When

I used to play raucous punk rock music in dive bars, I felt out of place. Likewise, when I exhibit paintings at austere galleries and white-walled museum spaces, I don’t feel quite at home. In either context, there’s always this sense of an element missing. It’s been my dream to

2 somehow create a situation in which writing music and making paintings can be understood as living together, enhancing one another.

As an undergraduate painting student, I started writing descriptions in my sketchbook of how I imagined the Beach Boy’s “Pet Sounds” album would look in painted form. All sorts of questions began to emerge about how sounds could translate into visual elements. This led me to begin an experiment in which I gave various people a box of crayons, a piece of paper, and a short piece of music to listen to. Participants in the experiment were instructed to respond intuitively to the music, Stravinsky’s “Duo Concertant II - Eclogue I”, by drawing for the duration of the piece. One person I asked to contribute was a personal hero of mine, Ian MacKaye, founder of Dischord Records and the legendary bands Minor Threat and Fugazi. Lucky for me, he actually did it (Image 1). Along with the drawing, he responded to a few of my questions.

One of his remarks has continued to resonate with me: “The eye and ear live within inches of each other, and are connected to the same processing center…it would stand to reason that they would make ﬁne partners.” It’s so simple, and so true. This little nugget of wisdom has served as sort of a mantra, encouraging me to trust in my instinct to make art which engages both sight and sound.

I have continued this research during my graduate studies at the Lamar Dodd School of

Art. This thesis project, “lubok bebop”, is a culmination of my research into the connections between visual art, recorded sound, and storytelling. The title references highly stylized seventeenth-century Russian woodcut prints (luboks) and fast-paced, improvisational jazz music (bebop). Although I am not directly trying to mimic lubok prints or bebop music within this project, their juxtaposition in nomenclature brings to the forefront a shared concern: “What constitutes an artistic voice, and what is my voice?”. It is my assertion that both forms are driven by the cultivation of a highly mannered or idiosyncratic tone by the maker or performer.

3 This project is centered around pinpointing my strengths as an artist and musician, and asking,

“Can my voice transcend mediums to yield a higher order of meaning?”.

4 evolution

Within my ﬁrst body of work as a graduate student, I created oil paintings which described anthropomorphic characters reenacting mundane scenes of familiar American life.

Each piece within the series, dubbed “adventures in normalland”, functioned as a cinematic vignette or short story. Much like the works of photographers Gregory Crewdson, Cindy

Sherman, and William Eggleston, these paintings provided brief glimpses rather than full disclosures. Of these works, the painting “coloring book” is perhaps the most engaging (Image

2). This iconic, endearing, and somewhat haunting painting frames a working-class single mother struggling to provide for her children. Through writing about this scenario in my sketchbook, I arrived at the imagery that unfolds within the painting. Character development and the establishment of a sense of place have since become key factors in my visual artwork.

5 I attribute this evolution in process to the experience of making “coloring book”, particularly in relation to utilizing the act of writing as a means of visualizing concepts.

Immediately following “adventures in normalland”, I embarked on a study of electronic music. Through the guidance of Dr. Chic Ball, I experimented with the possibilities of sound design within ProTools and MAX. ProTools is primarily used for audio tracking and editing, whereas MAX is a multi-purpose visual programming language used to design sound, video, and imagery. Familiarity with these programs unlocked limitless possibilities for creating unusual musical textures and patterns. Sound experimentation was crucial to the formation of

my simultaneous series of paintings called, “chelsea patternz”. Studying composer Paul

Lansky’s work, in particular his “More Than Idle Chatter” album (Lansky, 1994), led me to the concept of visually representing the quantiﬁcation of digital processing, with fart jokes (Image 3).

My interest in presenting a narrative in a much more fractured manner manifested itself through collaging numerous ideas together as part of a larger field or pattern. Each object or character in the field represents a different sliver of experience. Pop culture references and everyday objects are abstracted into simplified, plastic, dog-toy-like forms. Hue contrast and loosely- gridded isomorphic placement were also utilized to evoke a sense of rhythm and modal chord structure.

6 4 5

At this point, I decided to create a bridge between the visual and aural. To simplify things, I allowed myself to build upon a ready-made narrative: “Aesop’s Fables”. This body of work involved creating nine oil paintings and nine corresponding songs, meant to be

7 experienced together. Image 4, “the wolves and the dogs”, is an example of one of the paintings, and Image 5 is the cover of the “aesop’s songs” album. Another piece, “the fox with the swollen belly”, was also developed into a hand-drawn animation (https://vimeo.com/

96244756). During the showing of this project, spectators were encouraged to experience the paintings and music together through the construction of a “listening station”, which repeatedly played the “aesop songs” album on headphones (Image 6).

Central to this project was my development of a system for correlating color to tone, size to duration, and lyric to imagery. Utilizing a color wheel system called “Chromascale”1, I was able to translate the overall modal key of each song into a dominant hue ground for each painting. Likewise, I converted the length of each song into seconds, and then transposed this number to inches. This created an overall sense of proportion between the works, as shorter songs made for smaller paintings, and vice versa. Lyrically, “Aesop’s Fables” is darkly humorous. Often the tales end with a character dying due to being an idiot. I attempted to capture this sentiment through utilizing brutish, crude handling of paint application (see Image

4). Musically, I incorporated rough textures and subtle dissonant passages to create a sense of unrest.

Continuing along this path, I made another body of work called “the adventures of Miss

Harmony Columbine”, based very loosely on the famous J.D. Salinger novel, The Catcher in the

Rye. Harmony Columbine was an attempt to create the ultimate composite slacker character, referencing Holden Caulﬁeld2, Hal Incandenza3, Vernon God Little4, Holly Golightly5, and Kurt

1 Developed by scientist Paul Bourke.

2 Catcher in the Rye, Saliger

3 Inﬁnite Jest, Wallace

4 Vernon God Little, Pierre

5 “Breakfast at Tiffany’s”, Capote

8 7

Cobain6 (Image 7). Harmony’s feathered headdress is a complex symbol. On the one hand, since she’s a cat, the feather is a signiﬁer of her as a predator. She hunts, she kills, and she’s proud of it. On the other hand, the headdress references Sitting Bull, and his ﬁght against the corrupt and violent encroachment of the U.S. Government upon the Lakota Sioux people.

Harmony, in her misguided and naive teenage mind, compares Sitting Bull’s struggle to her own struggle to maintain her slacker lifestyle in spite of authority (her parents, high school teachers, etc.). Musically, the project incorporated a boozy, New Orleans-jazz-style interlude which aimed to illustrate Harmony’s gaze into the Mississippi River. I presented the musical supplement via

6 an actual person, deceased

9 8

10 a QR code printed on a label underneath one of the paintings, allowing viewers to scan the code on their phones and hear the piece. Although the code technically “worked”, it proved to be visually distracting and overly laborious.

Along with the Harmony paintings, I completed a stand-alone musical / visual project called “black juniper” (Images 8 and 9). Returning to the “listening station” concept from “aesop songs”, I constructed a new music box which featured handwritten lyrics to the “black juniper” composition. This bizarre tale, a genuine autobiographical experience, involves a doped-up veteran burning his house down while his wife and child stand nearby. The visual component, soundtrack, and text were experienced simultaneously — creating an operatic sensation.7

Holistically, “black juniper” represents a milestone in my studies at UGA. The musical component enforced its duration upon the image, which now seemed to emit an entry point and a climax. As I listened and looked, my heart began to beat faster and I got goosebumps.

Usually this doesn’t happen to me while looking at visual art. Suddenly the painting had a presence outside of itself; an aura. These observations serve as an impetus for the kind of work

I am currently making for my thesis project.

Immediately preceding my thesis work, I completed a series of paintings entitled, “short stories”. Inspired by Sylvia Plath’s Johnny Panic and the Bible of Dreams, I set out to create a group of paintings which seamlessly pivoted between invented narratives and honest reﬂections of my current life experiences. Rather than obscuring content through symbolism and dodgy anthropomorphic description, I chose to confront emotions head-on. Love, sex, death: these are themes that never disappear because ultimately they are the things people really care about. One painting, “french kiss” (Image 10), celebrates the humor and awkwardness of sex, while highlighting the Mahayana Buddhistic potential for dual enlightenment through physical love. This idea interests me as a visual concept as well. Expressive color, symmetry, pattern,

7 a really disturbing, creepy opera….György Ligeti meets Aphex Twin

11 and shallow space are all prominent within the depiction of Bodhisattva Samantabhadra seen in

Image 11. In a decision to focus on technicality in painting, this group of works did not include any musical components.

10 11

Paul Klee and Mikalojus Konstantinas Čiurlionis both asked the question: How can painting and music be synthesized into one compositional act? This is a big question, but the answer can begin with simple observations. Painting and music are both experienced sensorially and lead to cognitive stimulation. Painting is experienced visually, and is dependent upon light waves. Music is experience aurally, and is dependent upon sound waves. Within the cannon of either discipline, one can ﬁnd innumerable possibilities for perceptual communication.

Any painting or piece of music contains the potential to make us feel the entire spectrum of human emotion, or to convey any idea. But what if this potential could be expanded even further? Through synthesizing painting and music, there is fertile ground for multiple layers of

12 emotional and conceptual content, and the potential to reach a plain higher than the sum of either part. Furthermore, the prescribed meanings and indirect associations of these images and sounds can take on a certain ambience or complication, when juxtaposed. Richard

Wagner’s description of “inward uniting”, implies that the compositional process itself must come from the same place within the mind of the creator (Vergo, 108). This can only be achieved through absolute understanding of composition in music and visual art, and “lubok bebop” is a mile marker of my progress on this road.

13 Klee

Around a hundred years ago in Munich, a young violinist named Paul Klee sat in an orchestra pit and performed one of his favorite pieces by Mozart. Klee’s mind was undoubtedly occupied at the moment with reading the score, following the conductor, and carefully listening to his fellow musicians. However, I would argue that Paul Klee’s brain was simultaneously experiencing the symphony on another level as well. While others heard rhythm, perhaps he saw angles and lines crossing and exploding. While others heard polyphony and melody, he may have envisioned colors and tones transparently layering atop one another. Klee was beginning to take painting seriously. For the rest of his life, he would try to get to the point at which music and visual art intersected. He was proliﬁc, producing thousands of pieces of visual art, while performing hundreds of concerts in orchestras and chamber groups. All throughout, he wrote in his journal about his “polyphonic paintings”, in which, “time becomes a spacial element” (Klee, 374). But the artist left us with a giant hole in his oeuvre: he never composed a

14 single piece of music. Today, if one could only hear a score composed by Paul Klee, one could perhaps fully understand how he thought about painting in relation to music. Imagine being able to “hear” “Ancient Sound”, “Ad Parnassum” (Image 12), or “The Twittering Machine”. There’s really no doubt that the man could have composed his own music. Often, while sitting at outdoor cafes and sipping wine, he would memorize the melodies of street performers singing on the corner (Klee, 181). Later, he would write down this music in his journal. He had the virtuosity and skill to play in a professional orchestra, as well as an amazing knack for hearing and playing by ear. So, why wouldn’t he have written music? He was obsessed with the idea of synthesis between art and music, so why wouldn’t he have tried it? The closest thing we have today are remnants of his Bauhaus teaching notes, in which graphic translations of Bach’s music can be seen. But why not create graphic translations of his own music? Unless he ultimately thought that they should simply exist independently. Or, perhaps he just didn’t think his own musical ideas were any good. I have a hard time believing this.

15 Ciurlionis

Ciurlionis provides an excellent example of an artist who truly burned the candle at both ends, composing and painting with equal intensity. Unlike Klee, Ciurlionis left behind many scores of original compositions to be heard and studied today. As a composer, Ciurlionis bridged the gap between Romanticism and the impending atonality of 20th Century music

(Bowlt, 73). From the perspective of painting, Ciurlionis associated with the Russian Symbolists of the time. The titles of his paintings often contained musical terminology, such as “fugue”, or

“symphony”. Whistler famously created similar titles for some of his works, such as “Nocturne”.

However, Ciurlionis’ works contain actual attempts at translating musical forms into pictorial composition. For example, his “fugue” paintings contain repeated forms (trees) which mimic the

16 canon of voices heard in a fugue piece of music. His painting “Prelude and Fugue”, for example

“succeeds in creating the illusion of the staggered entry and development of several voices by juxtaposing successions of particular images (ﬁr-trees, buildings) in various combinations….the images of the initial motif are repeated in subsequent lines lower in the picture” (Bowlt, 50-51).

Along with this strategy of repeating forms at diminishing scale to evoke fugue, Ciurlionis also combined multiple systems of perspective to evoke multiple melodic themes. Although

Ciurlionis and Mondrian never met, they both may have come to the same conclusion about

14 deﬁning horizontal and vertical axes of a picture plane in relation to music. Mondrian believed that melody should be represented horizontally while harmony should be represented vertically

(Vergo, 318). It’s interesting to note that this coincides with the way music is literally written, with harmonies and chords expanding up and down as the melody reads left to right. Bowlt asserts that Ciurlionis’ musical compositions written after 1901 were particularly “monoplanar”,

17 emphasizing the melody. His paintings from this same time seem to emphasize verticality, which can be understood as supplying the harmonic counterpoint to his “monoplanar” music

(49, 55). “Sonata VII: Sonata of the Pyramids” (Image 14) is a good example of this, as seen within the repeated strong verticals in the pillars and palm trees. Perhaps Ciurlionis planned for the paintings and the music to compliment each other in this way, creating a holistic Wagnerian gesamtkunstwerk.

18 my visual voice

When a painting communicates representational object matter, words form to describe these objects. This produces a libretto or lyrical component, when related to music.

Furthermore, an evocation of the human singing voice emerges when human figures are depicted. All of the characteristics of a voice - pitch, volume, gender assignment, inflection, timbre, language, etc. - can equally be translated into how a figure is painted. Wagner called the vocal element of his works the “conscious”, as opposed to the “unconscious” orchestral element (Vergo, 40).

Figures are present within my paintings because they function as a direct representation of the human spirit. Max Beckmann, Christoph Ruckhäberle, Dana Schutz, Kerry James

Marshall, and Nicole Eisenman are a few of the painters I look to for visual guidance. Each of

19 these artists depict ﬁgures in their work through highly idiosyncratic visual languages. Like these artists, I am not interested in attempting verisimilitude within description of forms.

Realism is always secondary to expression in my work. In this sense, I am often inspired by illustrators and cartoonists such as John Kricfalusi, Ralph Steadman, Jim Flora, Tex Avery, and

Ralph Bakshi. These artists are not afraid to distort or exaggerate depiction of ﬁgures and objects in order to communicate an emotional concept. Lubok prints are also an important inﬂuence in this regard. These 17th Century woodcut prints are marked by bold contours, anthropomorphism, bold coloration, and wild shifts in scale (Image 15). In his book, Komiks:

Comic Art in Russia, Jose’ Alaniz describes these works as “the ﬁrst consistently realized expression of a comics language…” (22).

The logic I apply to rendering form also applies to describing a setting and the chronology of events which unfold within. I think of my work in terms of conjuring multiple vignettes of content within a singular experience. the chronology of how these components reveal themselves can be fragmented and re-arranged. The narrative doesn’t have to move linearly through time. In fact, especially within a painting, it makes far more sense if temporal reading is disregarded. This is more in-tune with how we actually see. One thing leads to another thing, which leads to another, etc. David Foster Wallace uses hundreds of footnotes in his novel, Inﬁnite Jest, to accomplish this feeling. The overall narrative of the book is fractured, chronologically, allowing for multiple viewpoints of the story. I strive to create these portals in my own work, through the dichotomy of musical and visual content.

20 funky paintings

Quincy Jones shares a lot of “behind the scenes” stories about Michael Jackson within the deluxe version of “Thriller”. My favorite part of the interview is when Jones speaks about the original demo that Michael had thrown together for “Billie Jean” (Jackson, Track 19, 2008). The seasoned producer, perhaps thinking of pop sensibility for radio-play, encouraged young

Michael to cut the instrumental bass and drums groove at the beginning of the song. It was simply too long; “She was more like a beauty queen” needed to come in sooner. Much to the chagrin of Jones, the soft-spoken pop star disagreed. He simply said: "But that's the

21 jelly!...That's what makes me want to dance”. How can you argue with something that makes

Michael want to dance? You just can’t.

I’m trying to ﬁnd the visual equivalent. Needless to say this is a lofty goal, but I think it’s helpful to explore what makes a painting “funky”. My ﬁrst inclination is to cite Jim Nutt’s “Miss T.

Garmint (she pants a lot)” as an example (Image 16). Here are some thoughts about why Mr.

Nutt can share the stage with Funkadelic: First and foremost, the rhythm of funk music must be charged and bass-heavy. Visually, I equate this with bold, repetitive marks and exaggerated straight-to-curved gestures. Tonally, this music is often modal — meaning long passages of

singular, underlying chords. This can be compared to the overall warm yellows and pinks that dominate “Miss T. Garmint”, which mimic this modal musical quality. Lyrically, funk music is often very direct and simpliﬁed, and sometimes even brutish or dumb. It’s often more about the

22 vocal delivery, the style of the voice. This conjures images of James Brown singing nonsense words, or George Clinton stammering through syllables, or Prince yelping, or Bootsy Collins talking about “putting his shades on”. All of these qualities are elements I would liken to Nutt’s bizarre distortions of the ﬁgure. I’m looking to cultivate my own mannered idiosyncrasies in describing forms, and to exaggerate these qualities in a consistent rhythm. My painting “blonde ambition tour” (Image 17) exempliﬁes these qualities directly.

My music is essentially focused on distillation of melody and the development of unfamiliar textures. I am interested in boiling lyrics and melodic lines into their simplest forms.

The sonic textures I’m interested in come from fretless instruments and warm electronics. My primary songwriting instrument is a six-string fretless bass guitar, as my primary visual compositional tool is usually vine charcoal. In past works I have equated playing the fretless bass with the act of drawing. There is an inherent ﬂuidity and looseness in my approach to both practices. The bass is rhythmic but also carries tone and sometimes melody. I equate hue with tones from the chromatic scale. Therefore, since the notes being played on the fretless bass obviously carry tonal information, the linear design must be formed with color. Another prominent tonal instrument within my work is the cello. I have chosen to think of the cello in terms of patches of hue. The smoothness or roughness of the paint strokes are intended to mimic the sounds of the bow against the cello strings. Both the cello and bass are fretless instruments, which brings in the element of intonation. The notes heard on these instruments are often minutely sharp or ﬂat, producing quarter tones in-between the normal twelve tone chromatic scale. This is like the process of color-mixing, producing hues and chromatic grays that are outside of major stops on the basic color wheel. The rhythmic aspects of my music are generally carried through the use of a digital music sequencer. I have consciously tried to mimic this approach to rhythm with my placement of shapes, proportional contrast, value contrast, and compositional structure within the paintings. The lyrical and vocal performance within my songs

23 18

relates to the treatment of representational content. Since I am interested in lyrics which have a darkly comedic and playful tone, I strive to render ﬁgures and settings in a similar manner. The tone of my voice and delivery also serve this aesthetic. These qualities are present within “the cat and the mice” (Image 18) from my “aesop songs” series.

24 MAX research

(Image 19: screenshot of a MAX patch I wrote to convert every playable note of my six-string

fretless electric bass guitar into hues)

The digitization of recorded sound opens the possibility for mapping audio with numbers.

These values allow for an accurate quantifying of the particular characteristics of recorded sounds, which allows for crystal clear reproduction when heard audibly (Moore, 29). However, the work of composer Paul Lansky begs the question, “What else can these numbers represent?” Lansky’s compositions often take the numerical representations of one particular sound sample, and then impose those attributes onto a different sound sample (Lansky). With this concept in mind, it’s easy to imagine that these values can also represent colors of the visual spectrum. This concept of quantiﬁcation holds the key to the idea that visual art and music can synthesize into a singular form.

25 The development of digitization through computer music enables composers to dissect sound in exciting new ways. In composer Jonathan Harvey’s words, “Before the microscope, we never knew what the micro world looked like-and now, because of the tremendous precision in being able to look into sounds and work with them, the whole world of micro sound has opened up and we can compose with it” (Chadabe, 129). Frank Zappa remarks on digital sound in his autobiography, “ A sound from The Real World is sliced up, and stored as complex batches of ones and zeros” (Zappa, 158). Lansky’s path to computer music begins with his interest in serialism during the 1960’s (Cody, 20). The serialist aesthetic encompasses the possibility for a democratic ordering in composition, and this idea translates to music and to visual art as well (Moore, Allen F.). Interestingly enough, Lansky equates his process during this time with sculpture, explaining, “I like to start with something concrete, and chiseling away, much like a sculptor who begins with a large block of stone that ultimately resolves itself into something utterly different” (Cody, 20). Paul Lansky works on the concept of breaking apart the characteristics of sounds and reassembling them to develop new, “artiﬁcially created sounds” (Lansky). His movement toward this revelation starts in 1979, with his composition “Six

Fantasies on a Poem by Thomas Campion.” This piece deals with the human voice in a manner in which listeners are “forced to perceive the contours, shapes, and rhythms of speech as musical objects” (Roads, 18). Lansky takes the elements of a voice and deconstructs them into these basic elements by digitizing information into quantiﬁable values, enabling him to transform voices into new sounds. During a 2004 lecture, Lansky notes: “In my 1988 piece, Smalltalk, I mapped the amplitudes, rhythms and frequencies of casual conversation onto plucked string

ﬁlters. All that was necessary to do this was a frequency and envelope analysis of the original signal” (Lansky). This process grows from the shift in music composition from the analog to digital realm. When Lansky refers to these separated aspects of a particular sound, he acknowledges the inherent quantiﬁability of digitally-produced music.

26 (Image 20: detail of my MAX patch)

Using Lansky’s work as a jumping-off point, I am currently trying to quantify sound with color through MAX, which is essentially a visual programming software. The musical components of my thesis project involve the use of MAX as a means of converting my primary songwriting instrument (six-string fretless electric bass) into color through the use of a MIDI attachment into my computer. In the above detail (Image 20), each module (“select 23”, “select

24”, etc.) represents a single note on a particular string on my bass guitar. Each time that note

27 is played, the circular buttons pictured underneath the modules are triggered. This causes a corresponding Pantone number to be generated, which in turn controls the hue being selected within the rainbow color swatch. All of this happens in real-time, as I play the bass guitar.

During the making of the “lubok bebop” project, I have used this system as a tool to relate songwriting to painting. The entire color wheel can be seen on the next page, as Image 21.

28 21

29 crows caw (morning) / lubok bebop soundbox

Utilizing my MAX color wheel system, I created “lubok bebop soundbox”. This work is comprised of a painting on canvas embedded within a constructed wooden box which also houses a speaker and mp3 player. Spectators are invited to press a button which initiates the playing of three songs: “crows caw (morning)”, “i can hear your breath”, and “crows caw

(night)”. The painting within the soundbox itself is a visual representation of “crows caw

(morning)”, which can be heard as track 1 on the supplemental cd attached to this paper

(appendix b). Inspired by Klee and Albers, this painting is a formal color study intended to represent the tones heard within the musical composition. The music itself was written for orchestra within the program Finale, and can be read as a score (appendix a). This work is intended to be experienced aurally while all three visual works within the “lubok bebop” series are seen.

30 i can hear your breath

The painting, “i can hear your breath”, is about being an artist. A traveling circus is representative of every artist’s struggle to ﬁnd a place and purpose in the world. Lost, trapped, and surrounded by danger, the artists bravely put on their costumes and proclaim: “The show must go on”. The song, “i can hear your breath” (appendix b - track 2), is a parallel narrative to the circus-boat story which describes lovers meditating in the forest. In this sense, the imagery

31 seen in the painting is a daydream or manifestation of the hikers’ minds while wandering through the woods. Or, vice versa.

Sonically, the music is soft and minimal. A lone acoustic guitar and voice are accompanied sparingly by a somber cello. Once again, the colors within the painting have been pulled from an analysis of the music via my MAX patch. For example, the three descending chords during the instrumental bridge section of the song are directly related to the three cool hues repeated within the wave patterning at the bottom of the painting. However, the reticent mood or feel of the song is meant as a contrast to the animated disposition of the painting. This discrepancy is a purposeful statement about the conﬂicted nature of the artist as performer and as recluse.

“i can hear your breath” so now i think of sylvia and her bible of dreams walkin' through the forest what is in the daylight being? it’s late november see, hear, touch, taste, the burning leaves are red and gold olfactory wolves bark in the distance it’s so quiet outside the owls peer from high overhead that i can hear your breath so now i think of saraha and i’ve been watchin' the treetops and his quizzical songs blowin’ in the wind again what is with our shadows growing long in the setting being? sun see, hear, touch, taste, there are many places olfactory to get lost we should climb the ﬁg tree point a ﬁnger at tree rings and pick the fruit feelin’ small and meaningless then stumble back down but we’re here and it’s beautiful eat a snack and make-out with you and who cares about all of the above the sun hits the snowfall so now i’m thinking of you and i’m wondering where we began you are the one i love

32 crows caw (night)

The painting, “crows caw (night)”, is about love in deﬁance of mortality. The ﬁgures are loosely representative of myself, my wife, and our dog relaxing at home. Descriptively, these

ﬁgures are driven by emotional content rather than verisimilitude. They symbolize a young

American family scraping by and holding onto an idealized youthful worldview, in spite of the demands of everyday adult life. Music is nonchalantly created while being performed by an

33 imaginary band. All the while the score is literally ﬂying out the window, which simultaneously critiques and celebrates the ephemerality of art-making.

The song, “crows caw (night)” (appendix b - track 3), is texturally dense and sonically intense. This is the musical equivalent to the overwhelming patterning which envelops the painting’s surface. Tonally, the music is built primarily around a B-major seventh chord. Based on my MAX patch, this is visually represented by the overall warm magenta hue which dominates the pattern. Lyrically the song references crows cawing, which is an autobiographical detail inspired by crows which actually tend to congregate outside of our house. Pictorially this is subtly indicated by the Corvus constellation map seen strewn upon the

ﬂoor.

“crows caw (night)” crows cawing at night crows caw at night keeping me up when i turn out the light when i’m fast asleep black silhouettes in the sky when i wake in the morning catching the blue of the moonlight crows peck at my feet it’s a wonderful time watched it’s a wonderful life to be alive on christmas eve all things ahead made your mother cry will be made right red wine and tea crows caw in the light all hours of time bone black in the golden sky as we’re walking by all hours of time they take ﬂight continuously crows caw hope keeps me still sublime

34 plans

At the reception for these works, it was fascinating to watch spectators interact with “lubok bebop”. Because the music could be played and the volume could be adjusted at will, the space around the paintings seemed to be ever-changing. In this sense, I had the realization that this work has more in common with installation art than I had previously foreseen. In general I believe the project was successful in terms of correlating tone to color, and pattern to musical texture. I plan to add a component within the MAX patch which incorporates the variables of chroma and value into consideration, rather than just hue.

Furthermore, I would like to improve in the devising of a system for correlating the imagery within my paintings to music in a more purposeful manner.

35 I feel conﬁdent in pursuing the direction I have set-forth within “lubok bebop”. At the beginning of this paper I pose the question: “Can my voice transcend mediums to yield a higher order of meaning?”. The simple answer is yes. It is possible for my paintings and music to live together and cast peripheral meanings upon one another. It is also possible for these peripheral meanings to lead the spectator into a mental place which is neither inherently visual or musical.

The challenge with this type of work is to intentionally direct the spectator toward this mythical place which I refer to earlier as a “higher order of meaning”. Perhaps these are the wrong words to define what I’m looking for in my work. It’s important to note that pressing a button on a painting and hearing music is inherently fun, and somewhat silly. These are emotional reactions rather than intellectual responses. My next step is not to find a “higher meaning” between art and music. Rather, I plan to find a “deeper meaning”. I want to speak from the gut and from the heart.

36 BIBLIOGRAPHY

Alaniz, Jose’. “Lubok and the Prerevolutionary Era”. In Komiks: Comic Art in Russia, 13-30. Jackson: University Press of Mississippi, 2010.

Beach Boys. Pet Sounds. Capitol Records, 1966, compact disc.

Bourke, Paul. “Chromoscale: Unique Language for Sounds Colors and Numbers”. Retrieved: 4/28/16, http://www.tigercolor.com/color-lab/chromoscale.pdf, 2013.

Capote, Truman. Breakfast at Tiffany’s. New York: Random House, 1958.

Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. New Jersey: Prentice Hall Press, 1997.

Cody, Joshua. “An Interview with Paul Lansky”. Computer Music Journal, Vol. 20 #1, pp.19-24, 1996.

Fan, Jinghua. “Sylvia Plath’s Visual Poetics”. In Eye Rhymes: Sylvia Plath’s Art of the Visual, edited by Kathleen Connors and Sally Bayley, 205-222. NewYork: Oxford University Press, 2007

Jackson, Michael. Thriller: 25th Anniversary Edition. Epic Records. 2008, compact disc

Kagan, Andrew. Paul Klee: Art and Music. Ithaca: Cornell University Press, 1983.

Klee, Paul and Felix Klee. The Diaries of Paul Klee: 1898 - 1918. Berkeley: University of California Press, 1964.

Lansky, Paul. More Than Idle Chatter. Bridge Records, #9050. 1994, compact disc.

Lansky, Paul. “The Importance of Being Digital”. Retrieved 5/3/14: http:// paul.mycpanel.princeton.edu/lansky_beingdigital.htm#_ftn3, 2004.

Moore, Allen F. “Serialism and its Contradictions”. International Review of the Aesthetics and Sociology of Music, Vol. 26 #1, pp.77-95, 1995.

Moore, F. Richard. “Dreams of Computer Music: Then and Now”. Computer Music Journal, Vol. 20 # 1, pp.25-41, 1996.

37 Pierre, D. B. C. Vernon God Little. London: Faber and Faber, 2003.

Plath, Sylvia. Johnny Panic and the Bible of Dreams. London: Faber and Faber, 1977.

Roads, C. “Interview with Paul Lansky”, Computer Music Journal, Vol.7 #3, pp.16-24, 1983.

Salinger, J. D. Catcher in the Rye. New York: Little, Brown and Company, 1951.

Senn, Erich, John C. Bowlt, and Danute Staskevicius. Mikalojus Konstantinas Čiurlionis: Music of the Spheres. Newtonville, Massachusetts: Oriental Research Partners, 1986

Stravinsky, Igor. Duo Concertant, Suite Italienne & Other Works for Violin and Piano, Chandos Records, 1999, compact disc.

Vergo, Peter. The Music of Painting: Music, Modernism, and the Visual Arts from the Romantics to John Cage. New York: Phaidon, 2010.

Wallace, David Foster. Inﬁnite Jest. Little, Brown and Company, 1996.

Zappa, Frank and Occhiygrosso, Peter. The Real Frank Zappa Book. New York: Poseidon Press, 1989.

38 Score lubok bebop - crow's caw movement - spence townsend

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Piccolo 4 & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Flute 1 4 & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Flute 2 4 & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Oboe 4 & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

English Horn # & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Clarinet in E # b # 4 & # 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Clarinet in B 1 b # 4 & # 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Clarinet in B 2 # b & # 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Bass Clarinet # & # 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Bassoon 1 ? 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Bassoon 2 ? 4 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Contrabassoon ? 4 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Horn in F 1 # & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Horn in F 2 # 4 & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Trumpet in C 1 4 & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Trumpet in C 2 4 & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Trombone 1 ? 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Trombone 2 ? 4 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Tuba ? 4 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Timpani ? 4 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Percussion ã 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 4 & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Harp ? 4 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ˙ ˙

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 œ œ œ œ 4 œ œ œ œ œ œ œ œ & 4 Œ Œ œ ! ! ! œ Œ ! œ œ œ œ ! Œ Œ œ ! ! ! œ ! œ œ œ œ ! Piano œ œ œ œ œ œ œ œ œ ? 4 œ Œ Œ ! œ ! Ó. ! ! ! œ Œ Œ ! œ œ œ ! Ó. œ ! œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ 2 3 4 5 œ 6 7 8 9 10 11 12 13 œ 14 15 16 Violin I & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Violin II & 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Viola B 4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Cello w ? 4 ! ! ! ! ! ! ! ! w w w w ! w w

17 - crow's caw movement - 18 19 20 21 22 23 24 25 26 27 28 Picc. & ! ! ! ! ! ! ! ! ! ! ! ! œ Fl. 1 ! œ œ œ œ ! œ œ œ œ w ! w ! ! ! ! ! & œ œ œ œ œ œ œ

Fl. 2 & ! ! ! ! ! ! ! ! ! ! ! !

Ob. & ! ! ! ! ! ! ! ! ! ! ! !

E. Hn. # & ! ! ! ! ! ! ! ! ! ! ! !

E Cl. # # b & # ! ! ! ! ! ! ! ! ! ! ! !

B Cl. 1 # b # ! ! œ œ œ ! ! ! ! ! ! & œ œ œ œ œ œ œ œ w w œ œ œ œ œ

B Cl. 2 # b & # ! ! ! ! ! ! ! ! ! ! ! !

B. Cl. # & # ! ! ! ! ! ! ! ! ! ! ! !

Bsn. 1 ? w w ! ! ˙ ˙ ! ! ! ! ! ! ˙ ˙

Bsn. 2 ? ! ! ! ! ! ! ! ! ! ! ! !

C. Bn. ? ! ! ! ! ! ! ! ! ! ! ! !

17 18 19 20 21 22 23 24 25 26 27 28 Hn. 1 # & ! ! ! ! ! ! ! ! ! ! ! !

Hn. 2 # & ! ! ! ! ! ! ! ! ! ! ! !

C Tpt. 1 & ! ! ! ! w ! w ! ! ! ! !

C Tpt. 2 & ! ! ! ! ! ! ! ! ! ! ! !

Tbn. 1 ? ! ! ! ! w w w w ! ! ! !

Tbn. 2 ? ! ! ! ! ! w ! w ! ! ! !

Tuba ? ! ! ! ! ! ! w ! ! ! ! w 17 18 19 20 21 22 23 24 25 26 27 28 Timp. ? ! ! ! ! ! ! ! ! ! ! ! !

17 18 19 20 21 22 23 24 25 26 27 28 Perc. ã ! ! ! ! ! ! ! ! ! ! ! !

17 18 œ 19 20 21 22 23 24 25 26 27 28 œ œ œ œ œ œ œ œ œ œ & œ œ œ œ w œ œ œ œ œ œ ®Œ w ! ! ! ! ! ! œ œ œ œ œ œ œ œ œ œ Hp. œ œ œ œ ˙ ? ˙ ˙ ˙ ˙ w ! w ! ! ! ! ! ! ˙ w w 17 18 19 20 21 œ 22 23 24 25 26 27 28 ˙ œ œ œ œ ˙ Œ œ Œ œ ! ! ! œ ! œ ˙. œ œ œ ! Ó & œ œ œ œ œ œ ˙ Pno. œ œ œ œ œ ˙ ˙ ˙˙ ˙ ? œ Œ Œ ! œ ! Ó. œ ! œ ! ! ˙ ˙ ˙˙ ˙ ˙ Ó œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ 17 18 19 20 21 œ 22 23 24 25 26 27 28 Vln. I & ! ! ! ! ! ! ! ! ! ! ! !

Vln. II & ! ! ! ! ! ! ! ! ! ! ! !

Vla. B ! ! ! ! ! ! ! ! ! ! ! !

Vc. ? w w w w w ! ! ! ! ! w w

Cb. ? ! ! ! ! ! w ! ! ! ! ! w lubok bebop 3

29 - crow's caw movement - 30 31 32 33 34 35 36 37 38 39 40 41 42 43 Picc. b˙. bw & ! ! ! ! Œ bw bw bw w ! ! ! ! !

Fl. 1 ! ! ! ! Œ bœ œ œ œ nœ œ bœ ˙. Œ œ œ œ œ bœ œ b˙. ‰ bw ! ! ! & J bw bw w

Fl. 2 bw bw w & ! ! ! ! ! bw bw bw w ! ! !

Ob. ! ! ! ! Œ ! ! ! ! ! & b˙. w w bw bw w E. Hn. # ! ! ! ! Œ ! ! ! ! ! ! ! & ˙. w w bw

E Cl. # # b & # ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

B Cl. 1 # b & # ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

B Cl. 2 # b & # ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

B. Cl. # & # ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Bsn. 1 ? ! ! ! ! ! ! bw w ! ! ! bw bw bw w

Bsn. 2 ? bw ! ! ! ! ! ! w bw w w w ! ! !

C. Bn. ? ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 Hn. 1 # & ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Hn. 2 # & ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

C Tpt. 1 & ! ! ! ! ! ! ! bw ! ! ! ! ! ! !

C Tpt. 2 & ! ! ! ! ! ! ! bw ! ! ! ! ! ! !

Tbn. 1 ? ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Tbn. 2 ? ! ! ! ! ! ! ! bw ! ! ! ! ! ! !

Tuba ? ! ! ! ! ! ! ! ! ! ! ! ! ! w 29 30 31 32 33 34 35 36 w 37 38 39 40 41 42 43 Timp. ? ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 Perc. ã ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

29 30 31 32 33 34 35 36 37 38 39 40 41 bœ bœ 42 bœ bœ 43 bœ bœ bœ œ œ œ nœ œ bœ J J J J J J & ! ! ! ! Œ ˙. Œ œ œ œ œ bœ œ b˙. ‰ ! ! ! ! bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ Hp. J J J J

? ! ! ! ! ˙. b˙. ! ! ! ! œ bœ ˙. b˙. b˙ b˙ b˙ bœ œ œ œ œ bœ b˙ b˙ b˙ 29 30 31 w 32 w 33 34 35 36 37 38 39 40 41 42 43 w bœ bœ bœ bœ bœ bœ w bœ œ œ œ nœ œ bœ J J J J J J & Œ ˙. Œ œ œ œ œ bœ œ b˙. ‰ ! ! ! ! bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ Pno. J J J J

? ˙. b˙. . . ! ! ! ! b˙ b˙ b˙ w w bœ œ bœ œ ˙ bœ b˙ b˙ b˙ b˙ w w œ œ œ 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 Vln. I & ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Vln. II & ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Vla. B ! ! ! ! ! ! ! bw ! ! ! ! ! ! !

Vc. bw ? ! ! ! ! ! ! ! ! ! bw w ! ! !

Cb. ? ! ! ! ! ! ! ! bw ! ! ! ! ! bw w 4 lubok bebop

44 - crow's caw movement - bœ bœ 45 bœ bœ 46 bœ bœ 47 bœ bœ 48 bœ bœ 49 bœ bœ 50 bœ bœ 51 bœ bœ Picc. bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ & bœ bœ J bœ bœ J bœ bœ J bœ bœ J bœ bœ J bœ bœ J bœ bœ J bœ bœ J

Fl. 1 & b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ Fl. 2 bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ bœ J bœ J ‰ & bœ bœ J bœ bœ J bœ bœ J bœ bœ J bœ bœ J bœ bœ J bœ bœ J bœ bœ J

Ob. & b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙

E. Hn. # & ! ! ! ! ! ! ! !

E Cl. # # b & # ! ! ! ! ! ! ! !

B Cl. 1 # b & # ! ! ! ! ! ! ! !

B Cl. 2 # b & # ! ! ! ! ! ! ! !

B. Cl. # & # ! ! ! ! ! ! ! !

Bsn. 1 ? ! ! ! ! ! ! ! !

Bsn. 2 ? ! ! ! ! ! ! ! !

C. Bn. ? ! ! ! ! ! ! ! !

44 45 46 47 48 49 50 51 Hn. 1 # & ! ! ! ! ! ! bw bw

Hn. 2 # & ! ! ! ! ! ! bw bw

C Tpt. 1 & ! ! ! ! ! ! ! !

C Tpt. 2 & ! ! ! ! ! ! ! !

Tbn. 1 ? ! ! ! ! ! ! ! !

Tbn. 2 ? ! ! ! ! ! ! b˙ b˙ b˙ b˙

Tuba ? ! ! ! ! ! ! b˙ b˙ b˙ b˙ 44 45 46 47 48 49 50 51 Timp. ? ! ! ! ! ! ! ! !

44 45 46 47 48 49 50 51 Perc. ã ! ! ! ! ! ! ! !

44 45 46 bœ bœ 47 bœ bœ 48 bœ bœ 49 bœ bœ 50 bœ bœ 51 bœ bœ J J J J J J J J J J J J & ! ! bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ Hp. J J J J J J

? ! ! b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ 44 45 46 bœ bœ 47 bœ bœ 48 bœ bœ 49 bœ bœ 50 bœ bœ 51 bœ bœ J J J J J J J J J J J J & ! ! bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ Pno. J J J J J J ? ! ! b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙

44 45 46 47 48 49 50 51 Vln. I bœ bœ bœ bœ bœ bœ ! ! bœ bœ bœ œ œ w bœ bœ bœ œ œ ‰ bœ bœ ˙ ‰ bœ bœ bœ œ œ w & J J J J J J J J

Vln. II bœ bœ bœ bœ bœ œ œ w & ! ! ! ! ! ! J J

Vla. B ! ! ! ! ! ! bw bw

Vc. ? ! ! ! ! ! ! b˙ b˙ b˙ b˙

Cb. ? ! ! ! ! ! ! b˙ b˙ b˙ b˙ lubok bebop 5

52 - crow's caw movement - bœ bœ 53 bœ bœ 54 55 56 57 58 59 60 61 62 63 64 Picc. bœ J bœ J ‰ bœ J bœ J ‰ ! ! ! ! ! ! ! ! ! ! ! & bœ bœ J bœ bœ J

Fl. 1 & b˙ b˙ b˙ b˙ ! ! ! ! ! ! ! ! ! ! ! bœ bœ bœ bœ Fl. 2 bœ J bœ J ‰ bœ J bœ J ‰ ! ! ! ! ! ! ! ! ! ! ! & bœ bœ J bœ bœ J

Ob. & b˙ b˙ b˙ b˙ ! ! ! ! ! ! ! ! ! ! !

E. Hn. # j j & ! ‰ bœ bœ ˙ ‰ ! ! ! ! ! ! ! ! ! ! !

E Cl. # # b & # ! ! ! ! ! ! ! ! ! ! ! ! !

B Cl. 1 # b & # ! ! ! ! ! ! ! ! ! ! ! ! !

B Cl. 2 # b & # ! ! ! ! ! ! ! ! ! ! ! ! !

B. Cl. # & # ! ! ! ! ! ! ! ! ! ! ! ! !

Bsn. 1 j ? ! ‰ bœ ˙ ‰ ! ! ! ! ! ! ! ! ! ! ! J bœ

Bsn. 2 j ? ! ‰ bœ bœ ˙ ‰ ! ! ! ! ! ! ! ! ! ! ! J

C. Bn. ? ! ! ! ! ! ! ! ! ! ! ! ! !

52 53 54 55 56 57 58 59 60 61 62 63 64 Hn. 1 # & bw bw ! ! ! ! ! ! ! ! ! ! !

Hn. 2 # & bw bw ! ! ! ! ! ! ! ! ! ! !

C Tpt. 1 & ! ! ! ! ! ! ! ! ! ! ! ! !

C Tpt. 2 & ! ! ! ! ! ! ! ! ! ! ! ! !

Tbn. 1 ? ! ! ! ! ! ! ! ! ! ! ! ! !

Tbn. 2 ? b˙ b˙ b˙ b˙ ! ! ! ! ! ! ! ! ! ! !

Tuba ? ! ! ! ! ! ! ! ! ! ! ! b˙ b˙ b˙ b˙ 52 53 54 55 56 57 58 59 60 61 62 63 64 Timp. ? ! ! ! ! ! ! ! ! ! ! ! ! !

52 53 54 55 56 57 58 59 60 61 62 63 64 Perc. ã ! ! ! ! ! ! ! ! ! ! ! ! !

52 bœ bœ 53 bœ bœ 54 55 56 57 58 59 60 61 62 63 64 J J J J & bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ ! ! ! ! ! ! ! ! ! ! ! Hp. J J

? ! ! ! ! ! ! ! ! ! ! ! b˙ b˙ b˙ b˙ 52 bœ bœ 53 bœ bœ 54 55 56 57 58 59 60 61 62 63 64 J J J J & bœ bœ bœ bœ ‰ bœ bœ bœ bœ ‰ ! ! ! ! ! ! ! ! ! ! ! Pno. J J ? b˙ b˙ b˙ b˙ ! ! ! ! ! ! ! ! ! ! !

52 53 54 55 56 57 58 59 60 61 62 63 64 Vln. I bœ bœ bœ bœ bœ œ œ ‰ bœ bœ ˙ ‰ ! ! ! ! ! ! ! ! ! ! ! & J J J J

Vln. II bœ bœ bœ bœ bœ œ œ bœ bœ ˙ & J J ‰ J J ‰ ! ! ! ! ! ! ! ! ! ! !

Vla. B bw bw ! ! ! ! ! ! ! ! ! ! !

Vc. ? b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ ! ! ! ! !

Cb. ? ! b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙