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Commentary on the Portfolio of Compositions

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Commentary on the Portfolio of Compositions Cobi van Tonder Doctor of Philosophy Music Department Trinity College Dublin 2016 Copyright © 2016 Cobi van Tonder i Composition Portfolio Contents 1. String Quartet No 1 - KO (2012/13) 17’ 2. Fata Morgana for Female Choir, Percussion and Computer (2015) 30’ Loss (13’) Arrest 3 (17’) 3. Haute Rorschach microtonal electronic music (2015) 8’30” 4. When all memory is gone microtonal electronic music (2015) 12’ 5. Drift for 12 musicians (2014) 12’ 6. Gala for 8-12 musicians (2015) 5’ 7. Mutation 2 for 4 musicians (2014) 13’ Total: 98’ ii Contents of Accompanying CDs This portfolio is accompanied by 2 audio CDs. Haute Rorschach and When all memory is gone contain important low frequencies and needs to be listened at over loudspeakers that specify Frequency response as 40 Hz -22 kHz, are ideal. Mutation 2 needs to be played through external loudspeakers – the main compositional intention will not come across via headphones. The audio outcomes may be quite diverse as many of the pieces (Haute Rorschach, When all memory is gone, Drift, Gala and Mutation 2) have certain aspects left open to interpretation. CD 1: Audio Recordings Track No. 1. String Quartet No 1 - KO Kate Ellis (Cello), Joanne Quigley (Violin), Paul O'Hanlon (Violin) , Lisa Dowdall (Viola). 2. Fata Morgana – Loss Michelle O’Rourke (Voice), Cobi van Tonder (Computer: Ableton Live). 3. Fata Morgana – Arrest 3 Michelle O’Rourke (Voice), Cobi van Tonder (Computer: Ableton Live). iii CD 2: Audio Recordings Track No. 1. Haute Rorschach Cobi van Tonder (Max/MSP Micro Tuner patch routed to 6 individual Ableton Live Virtual Instruments created with the Ableton Tension physical modeling string synthesizer, Tape Part: Glitch and Reverb). 2. When all memory is gone Cobi van Tonder (Max/MSP Micro Tuner patch routed to 6 individual Ableton Live Virtual Instruments created with the Ableton Tension physical modeling string synthesizer, the native Ableton Reverb is also used dynamically as major spatial sound element). 3. Drift Elise Mac (Norwegian Hardingfele, Violin), Cobi van Tonder (Computer: Ableton Live for layering and Tape Delay processing). 4. Gala Elise Mac (Norwegian Hardingfele, Violin), André van Rensburg (Shakuhachi, Guitar), Cobi van Tonder (Computer: Ableton Live for layering and Tape Delay processing). 5. Mutation 2 Cobi van Tonder (Cycling74 Max/MSP Markov chains (transition probabilities) mapped to Nord Rack 2x Synthesizer, Max/MSP Micro Tuner Patch mapped to sine tone generators of Nord Rack 2x Synthesizer. Mixed in Abletone Live). iv v Abstract The portfolio contains seven compositions with varying instrumentation, ranging from string quartet to computer processed voice ensemble to purely electronic forces. Fata Morgana is the largest work in the portfolio and written for female voice ensemble, percussion and live computer processing or tape. Its main concern is that of extending the human voice via the auditory illusion of the Shepard’s tone. String Quartet No 1 contains excessive glissade to expose microtonal qualities. Haute Rorschach, When all memory is gone, Drift, Gala and Mutation 2 all explore complex and unique microtonal tuning systems and are written with instrumentation left relatively open ended: given certain conditions, both acoustic and electronic forces are able to perform it. The most prominent compositional aspect that features in the portfolio is an approach towards the experience of movement in terms of colour, form, texture and space. Material consists of lines and curves such as glissandi or the Shepard’s tone auditory illusion, pitch fields, waves, pulses, flickering morphologies, distorted glows, morphs and slow transformations. This material originates from focusing on the internal properties of sounds, for example, the use of microtonal intervals that are clustered to produce beating patterns, third tones and unique colors. Macro forms are determined by this material and range from drone to simplistic, repetitive gestures. The final approach is a focus on the experience of sound in and as space: most pieces feature artificial acoustics as prominent part of the material and overall texture. vi vii Acknowledgments Foremost, I would like to thank my supervisors, Evangelia Rigaki and Donnacha Dennehy for their support, encouragement, guidance and direction. Thank you also to Matthew Causey and the Digital Arts and Humanities program and the Department of Music for their support and guidance. Thank you to the many wonderful musicians, artists, scientists, lecturers, fellow students and friends, literally all over the globe, with whom I have been incredibly lucky to meet and share ideas. Some I have known for a very long time and some I have met during the past 4 years. Thank you Kevin Volans for many lessons and memorable conversations. Sincere thanks to Kate Ellis, Joanne Quigley, Paul O'Hanlon, Lisa Dowdall, Michelle O’Rourke, André van Rensburg and Elise Mac who performed and/or recorded my pieces with open attitudes to try out new ideas. Lastly, special thanks to my family for their immense love and support over the years. Dedicated to Andrea and Dario. viii Table of Contents Page Composition Portfolio Contents ..................................................................... i Contents of Accompanying CDs & DVDs ........................................................ ii Abstract ........................................................................................................ v Acknowledgments ...................................................................................... vii Introduction ................................................................................................. 1 I. Chapter One: Review of Work ........................................................... 5 FORM 1.1. The influence of Abstract Expressionist Painting ............................. 5 1.2. Like a Japanese Zen Garden ........................................................... 14 1.3. Minimal ‘surface’ objects in Electronic Music ............................... 16 1.4. Extreme duration and immersion in Drone music ......................... 21 COLOR 1.5. Searching in between the grid – continuity ........................... 26 1.6. Ordered Dissonance – Microtonal worlds ............................. 28 1.7. Color, Timbre, Tuning systems .............................................. 30 1.8. Texture .................................................................................. 40 SPACE 1.9. Physics of Sound and Acoustics ............................................. 41 1.10. Difference tones .................................................................... 42 1.11. The audio-physical experience of sound ............................... 44 1.12. Spatial elements – Acoustics ................................................. 54 1.13. Spatial elements – Extending instruments and sounds ......... 55 1.14. Conclusion ............................................................................. 56 2. String Quartet No. 1 2.1. Introduction ........................................................................... 57 2.2. Form ...................................................................................... 58 2.3. 4 Lines – Macro/micro meta space ....................................... 60 2.4. Glissandi as continuum .......................................................... 64 2.5. Intuition versus plans ............................................................ 66 ix 2.6. Spatial elements .................................................................... 66 2.7. Emulating electronic or analogue effects .............................. 68 3. Fata Morgana 3.1. Introduction ........................................................................... 69 3.2. Space ..................................................................................... 72 3.3. Auditory Illusion and similarities to Op Art ........................... 73 3.4. Process ................................................................................... 79 3.5. Timbre, Spectral elements and form ..................................... 81 4. Haute Rorschach 4.1. Introduction ........................................................................... 87 4.2. Form ...................................................................................... 88 4.3. Tuning – 3-Tet, 5-Tet, 8-Tet…34-Tet ...................................... 91 4.4. Meta Tonality ........................................................................ 92 4.5. The Importance of Hidden Things .................................. 93 4.6. Glitch/embracing error ................................................... 95 4.7. Instrumentation ..................................................................... 96 5. When all memory is gone 5.1. Introduction ........................................................................... 99 5.2. Time and space .................................................................... 100 5.3. Timbre ................................................................................. 101 5.4. Tuning – 34-Tet .................................................................... 102 5.5. Form .................................................................................... 103 6. Drift & Gala 6.1. Introduction ......................................................................... 106 6.2. Tuning .................................................................................. 107 6.3. Form ...................................................................................
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