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Developing a Modular Approach to Music 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/id/eprint/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/ Developing a modular approach to music James Saunders A portfolio of compositions and commentary submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy May 2003 CONTENTS Table of Figures ......................................................................................................................... iv Acknowledgements..................................................................................................................... vi Abstract.....................................................................................................................................vii I. Short Pieces ............................................................................................................................ 1 A Standard Duration?............................................................................................................. 1 On Form (and extended duration) ........................................................................................... 4 Memory and the Perception of Duration in Music .................................................................... 11 Issues involved in composing short pieces ............................................................................. 14 Strategies for Composing Short Pieces................................................................................... 17 Developing a Performance Context........................................................................................ 23 A Non-standard Duration? .................................................................................................... 24 II. Compositions 1996-2000 ....................................................................................................... 26 Those birds (1996) .............................................................................................................. 27 untitleds (1996-8)................................................................................................................ 30 Preventing fluidity (1997) ..................................................................................................... 34 Like wool (1998).................................................................................................................. 37 Compatibility hides itself (1998-9) ......................................................................................... 41 Scanning trees (1999).......................................................................................................... 43 511 possible mosaics (1999)................................................................................................. 47 Fingers barely touching (1999-2000) ..................................................................................... 48 Five pieces & Twelve pieces (2000) ....................................................................................... 49 III. Modular Music ..................................................................................................................... 56 Designing Modular Systems .................................................................................................. 56 Modularity and Mobility in other arts...................................................................................... 58 Modular Music ..................................................................................................................... 63 IV. #[unassigned] ..................................................................................................................... 74 Overview of #[unassigned]................................................................................................... 75 #[unassigned] in context ..................................................................................................... 86 Conclusion................................................................................................................................ 97 Sources Consulted..................................................................................................................... 99 Appendix ................................................................................................................................ 103 Complete list of versions of #[unassigned]........................................................................... 103 iii Table of Figures Figure 1: Duration of pieces in the Huddersfield Contemporary Music Festival, 1991-1999 ................. 1 Figure 2: Duration of pieces in the British Music Information Centre archive ..................................... 2 Figure 3: Patterning in Morton Feldman’s Piano, Violin, Viola, Cello (bars 1-27)................................. 6 Figure 4: Morton Feldman - Piano, Violin, Viola, Cello (bars 1-27).................................................... 7 Figure 5: Manfred Werder - stuck1998 (page 302) ......................................................................... 9 Figure 6: Anton Webern - Drei kleine Stücke Op. 11, No. 1 ........................................................... 19 Figure 7: Jliat - Still Life #6 ........................................................................................................ 22 Figure 8: Rhythmic structure in Those Birds................................................................................. 27 Figure 9: Rhythm/pitch structure for Those Birds (excerpt) ........................................................... 28 Figure 10: Opening of Those Birds showing pitch shadowing and use of rhythm/pitch structure as a framework................................................................................................................................ 29 Figure 11: untitled 5 (1997) and method of transfer from rhythm/pitch structure............................ 31 Figure 12: Tempo structure in Preventing Fluidity ........................................................................ 35 Figure 13: Structure of time points in Preventing fluidity............................................................... 36 Figure 14: Generation of Cellular Automata ................................................................................. 37 Figure 15: Rhythm/pitch structure for Like Wool (opening) .......................................................... 39 Figure 16: Development of tuba part in Like Wool from rhythm/pitch structure............................... 40 Figure 17: Development of Compatibility hides itself – piano part .................................................. 43 Figure 18: Plan for constructing pitch/rhythm structure in Scanning Trees, showing derivation of rhythm by drawing perpendiculars .............................................................................................. 45 Figure 19: Plan for spacing pieces in Scanning Trees.................................................................... 45 Figure 20: Composition workings of ‘V’ from Scanning Trees ......................................................... 46 Figure 21: Sketch showing the construction of the bass trombone part in 511 possible mosaics ....... 48 Figure 22: Interlocking titles in the music of Franco Donatoni........................................................ 51 Figure 23: Diagram showing the potential interlocking of pieces in epello and cirl ........................... 52 Figure 24: Time structure for Five Pieces..................................................................................... 53 Figure 25: Time structure for Five Pieces and Twelve Pieces ......................................................... 55 Figure 26: Carl Andre - Equivalents I-VIII.................................................................................... 59 Figure 27: Raymond Queneau - sample permutation from 100,000,000,000,000 Poems ................. 60 Figure 28: Magnetic Poetry ........................................................................................................ 61 Figure 29: Dan Flavin - greens crossing greens (to Piet Mondrian who lacked green), 1966 ............. 62 Figure 30: Dan Flavin - untitled (to Robert, Joe and Michael) 1975-81 ........................................... 62 Figure 31: Dan Flavin - ‘Monument’ for V. Tatlin (1966-9)............................................................. 62 Figure
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