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Sonic Peace: an Antithesis to Sonic Warfare Tatiana Maria Schnitman Espindola Florida International University, [email protected]

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Sonic Peace: an Antithesis to Sonic Warfare Tatiana Maria Schnitman Espindola Florida International University, Cvonwrangell@Gmail.Com Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 11-19-2013 Sonic Peace: An Antithesis to Sonic Warfare Tatiana Maria Schnitman Espindola Florida International University, [email protected] DOI: 10.25148/etd.FI13120602 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Composition Commons, Musicology Commons, and the Music Theory Commons Recommended Citation Schnitman Espindola, Tatiana Maria, "Sonic Peace: An Antithesis to Sonic Warfare" (2013). FIU Electronic Theses and Dissertations. 993. https://digitalcommons.fiu.edu/etd/993 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida SONIC PEACE: AN ANITHESIS TO SONIC WARFARE A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC by Tatiana Maria Schnitman Espindola 2013 To: Dean Brian Schriner College of Arts and Sciences This thesis, written by Tatiana Maria Schnitman Espindola, and entitled Sonic Peace: An Antithesis of Sonic Warfare, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. __________________________________ Joel Galand __________________________________ David Dolata __________________________________ Orlando Jacinto Garcia, Major Professor Date of Defense: November 19, 2013 The thesis of Tatiana Maria Schnitman Espindola is approved. _________________________________ Dean Brian Schriner College of Arts and Sciences _________________________________ Dean Lakshmi N. Reddi University Graduate School Florida International University, 2013 ii ©Copyright 2013 Tatiana Maria Schnitman Espindola All rights reserved. iii DEDICATIONS Dedicated to two extraordinary women in my life: My fellow artist, best friend, and mama, Sophia von Wrangell, whose constant and unwavering support and love are imprinted on my memory and in my heart. And to Hildegard von Bingen, an inspiration, and a mother, sister, and friend figure to all women trying to make their mark on this world. Gewidmet den zwei ganz besonderen Frauen meines Lebens: Meiner Freundin, Mutter und Künstlerin Sophia von Wrangell, deren stete und verlässliche Unterstützung und Liebe Ich für immer in meiner Erinnerung behalte und in meinem Herzen trage. Und Hildegard von Bingen, eine Inspiration und Mutter, Schwester und Freundin im Geiste für alle Frauen, die ihre Spuren auf dieser Welt hinterlassen wollen. Dedicado a dos mujeres extraordinarias en mi vida: Mi colega artista, mejor amiga y madre, Sophia von Wrangell, cuyo amor y apoyo firme y constante han quedado impresos en mi memoria y en mi corazón. Y a Hildegard von Bingen, una inspiración y figura materna, hermana y amiga, para todas las mujeres que buscan dejar su huella en este mundo. iv ACKNOWLEDGMENTS My deepest gratitude goes to the School of Music department head and my major professor, Dr. Orlando Jacinto Garcia, whose support and guidance throughout this project has been invaluable. I am grateful for having had the opportunity to study under him these past two years. I would like to thank my committee members, Dr. David Dolata and Dr. Joel Galand. Dr. Dolata’s enthusiasm and dedication to his students is inspiring. I am grateful to have had the chance to learn from him, and work with him in and outside of the classroom. In many ways, it is due to him that this project was conceived the way it was. Dr. Galand was the first person I met at Florida International University; his intellect and warm welcome assured me that I would be happy if admitted to the master's program in composition. I am grateful for his patience, guidance, and mentoring these past two years. Finally, I would like to thank my mama, Sophia, and step-dad, Eric for their constant support and vigilant editing over the past ten years. I would also like to thank Tom Casey, my biggest fan and patron; without him as a father figure and friend, my studies would not have been realized the way they have. Finally, I would like to thank Dr. Michael Johanson, Dr. Samuel Jones, the Charbonnels, the Allisons, and Paul Eliot for being my music and life mentors and embracing me like family. v ABSTRACT OF THESIS SONIC PEACE: AN ANITHESIS TO SONIC WARFARE by Tatiana Maria Schnitman Espindola Florida International University, 2013 Miami, Florida Orlando Jacinto Garcia, Major Professor Sonic Peace: An Antithesis to Sonic Warfare explores certain frequencies that have been associated with various healing qualities, and seeks to bridge the sounds of antiquity and modernity. The piece draws on numerology and symbolism and adopts a cross-cultural approach in an effort to advance a cohesive universal healing message. The text featured in the composition is original, except for the use of an ancient Japanese Shinto chant. vi TABLE OF CONTENTS CHAPTER .................................................................................................................. PAGE I. Preface ......................................................................................................................... 1 II. Introduction ................................................................................................................ 2 III. Musical Influences .................................................................................................... 5 IV. Theoretical approach to the structure of Sonic Peace .............................................. 7 Overall Structure of Sonic Peace ................................................................................ 7 Form ............................................................................................................................ 8 Binaural Beating ......................................................................................................... 8 Schenkerian Analysis of Select Sections found in Sonic Peace ............................... 11 V. Temperament, tuning and frequency ....................................................................... 14 The Standardization of Pitch and the Solfeggio Frequencies ................................... 14 1/6 Comma Meantone Temperament ........................................................................ 19 Numerology and Symbolism .................................................................................... 24 VI. Text and Texture ..................................................................................................... 27 English Text .............................................................................................................. 27 Shinto Chant…...…………..……………………………………………………………… 33 VII. Rhythmic patterns in Sonic Peace ......................................................................... 36 Past Uses of Ciphers in Music, and Morse code ....................................................... 37 Uses of Ciphers in Sonic Peace ................................................................................ 40 VIII. Orchestration ........................................................................................................ 43 Instrumentation ......................................................................................................... 43 Notation and Extended techniques ............................................................................ 43 Staging ...................................................................................................................... 47 IX. Conclusion .............................................................................................................. 48 List of References ......................................................................................................... 49 Appendices .................................................................................................................... 50 vii TABLE OF FIGURES FIGURE PAGE Figure 1–Structural Outline ................................................................................................ 7 Figure 2 – Linear progression of form, also showing density ............................................ 8 Figure 3 – Introduction of the A=432 ............................................................................... 10 Figure 4 – Schenkerian Foreground Analysis of Section F .............................................. 11 Figure 5 – Schenkerian Middle ground Analysis of Section F ......................................... 12 Figure 6 – Background graph of Section F ....................................................................... 12 Figure 7 – Solfeggio Frequencies and associated healing qualities .................................. 17 Figure 8 – Harmonic Series with C as the fundamental ................................................... 20 Figure 9 – Terminology .................................................................................................... 22 Figure 10 – Placement of Wolf ......................................................................................... 22 Figure 11 – Size of fifth in 1/6 Comma Meantone Temperament .................................... 23 Figure 12 – 1/6 comma meantone cents chart and Equal Temperament offset chart. ...... 23 Figure
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