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Ksana: Compositional Control of Spectral Fusion As a Parameter of Timbre Functionality

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Ksana: Compositional Control of Spectral Fusion As a Parameter of Timbre Functionality Ksana: Compositional Control of Spectral Fusion as a Parameter of Timbre Functionality by Anthony Tan SCHULICH SCHOOL OF MUSIC McGILL UNIVERSITY, MONTRÉAL April 2015 VOLUME I: Text A thesis submitted to McGill University In partial fulfillment of the requirements of the degree of Doctor of Philosophy ©2015 Anthony Tan ABSTRACT This thesis proposes a compositional model for approaching timbre as a parameter of music able to contribute to the experience of tension and release, which I define as timbre’s functional use. Its aim is to unify concepts of timbre perception and timbre com- position such that composers might be better able to understand and control the role of timbre as a structuring force in their work. Specifically, the thesis proposes the synthesis and application of the psychoacoustic concepts of Spectral Fusion, Auditory Scene Anal- ysis, and Sensory Dissonance, as dimensions of timbre functionality. This thesis divides into two volumes. Volume I offers a written text that describes the theoretical and compositional approaches utilized in the composition, Ksana I, for large orchestra. Volume I further divides into three portions. Part I describes historical concepts of timbre and its compositional and functional use. Part II provides a theoretical basis, and proposes an additional model of controlling timbre functionally. Through an analysis of Ksana I, part III illustrates the use of this model in conjunction with previous approaches to timbre composition. The main topics of the analysis comprise timbre repre- sentation, the horizontal and vertical organization of timbre, micro-temporal control of timbre, and multidimensional timbre functionality. Volume II contains the full score for Ksana I. The composition divides into seven individual sections each representing a dif- ferent compositional approach to timbre. With a duration of twelve minutes, the work is scored for 2(picc).2 (eh).2 (bcl).2(cbsn)–4.1.3.1–2 perc.–harp–strings (10.10.8.8.4). ii RÉSUMÉ Cette thèse propose un modèle compositionnel pour aborder le timbre en tant que paramètre musical pouvant contribuer à l’expérience d’un rapport fonctionnel entre la tension et la détente. Dans le but de permettre aux compositeurs de mieux comprendre et contrôler le potentiel structurant du timbre dans leur travail, cette thèse prend en considé- ration aussi l’aspect perceptif et compositionnel de ce paramètre. Plus spécifiquement, la thèse propose une synthèse et une application de concepts psychoacoustiques telles que la fusion spectrale, l’analyse de scènes auditives (Auditory Scene Analysis), et la disso- nance sensorielle sur le plan fonctionnel du timbre. La thèse se divise en deux volumes. Le premier volume consiste en un texte qui décrit les approches théoriques et compositionnelles utilisées dans l’œuvre Ksana I, pour grand orchestre. Ce premier volume se divise en 3 parties. La première partie décrit les concepts historiques liés au timbre et à son utilisation fonctionnelle. La deuxième partie fournit une base théorique et propose un modèle supplémentaire pour contrôler la fonc- tionnalité du timbre. La troisième partie, par l’analyse de Ksana I, illustre l’utilisation de ce modèle en rapport avec des approches préexistantes de la composition des timbres. Les sujets principaux de l’analyse incluent la représentation du timbre, l’organisation horizon- tale et verticale du timbre, le contrôle microtemporel du timbre et une fonctionnalité mul- tidimensionnelle du timbre. Le deuxième volume consiste en la partition complète de Ksana I. La composition est divisée en sept sections distinctes, représentant chacune une approche compositionnelle différente du timbre. L’orchestration de la pièce, d’une durée de douze minutes, est la suivante : 2(picc.).2(cor angl.).2 (clar. bs.).2(cbsn.)–4.1.3.1–2 perc.–harpe–cordes (10.10.8.8.4). iii ACKNOWLEDGEMENTS Firstly, my sincerest gratitude goes to my doctoral advisor, John Rea, whose original support brought me to McGill to pursue graduate studies. He has been a continued source of guidance during the writing of this dissertation. Through our weekly composition meetings over the past years, I believe I now have the necessary tools to confront and forge my own path within the music composition world. Secondly, my deepest gratitude goes to my second doctoral advisor Stephen McAdams who has, through many discus- sions, offered numerous new compositional ideas and shaped much of the way I under- stand music and sound. The enormous world of psychoacoustics has been an important aspect of my development since my arrival at McGill. In addition, I would also like to thank Mark Andre and Franz Martin Olbrisch, for their guidance during the composition- al phase of this work. I would also like to extend my thanks to the Dresdner Philharmonie and conductor, Dominik Beykirch, for the first performance of this work. As well, my deepest gratitude goes to KlangNetz Dresden for providing this unique opportunity. Lastly, this thesis is dedicated to my parents. It has been their continued love and support that has allowed me to pursue a musical path. This privilege is not lost on me, and I am very conscious of all of the gifts that have been provided by them. iv GLOSSARY OF TERMS The following terms are used extensively throughout the text. A brief definition of each is provided here in order to facilitate discussion. Auditory Image – A mental representation of a sound entity that may be considered co- herent in its acoustic behavior and in its perception. This term has also been described as a “Sound-object” within the Acousmatic School of composition. Drone – A drone represents a musical direction where a single chord, or pitch continu- ously sounds with limited variation. Form-bearing Dimension – The psychological experience of a musical structure irre- spective of notation and intellectual intention. A musical dimension may bear form if it can be organized, recognized, and compared mentally with other configurations. One might also speak of form-evading dimensions, qualities of music that are not recognized or even distort the psychological experience of structure. Formant – This defines spectral peaks of the sound spectrum often due to the physicality of the resonating cavity, and sometimes referred to as acoustic resonance. Functionality - In music, this refers to the organization of structures / parameters to ful- fill some predefined role, often related to expression. For the purposes of this thesis, ex- pression connects to experiences of tension and release. Fusion – For this thesis, fusion suggests a perceptual process whereby two or more units group into a perceived, indivisible unit. Spectral fusion refers to a simultaneous grouping into the same auditory image, the components, and dimensions of a complex sound spec- trum. This term may also be referred to as integration and its opposite may be disintegra- tion, which represents the parsing of the components of a complex sound source into sep- arate components. Multi-dimensionality – This defines having or involving several dimensions or aspects that contribute to the emergence of an overall experience / form. Sound Envelope – An important element of timbre that represents the amplitude charac- teristics of a sound through time. It is often separated into three portions: the attack, sus- tain, and release of a sound. Attack transients represent changes occurring before the sound reaches a steady-state intensity. Sustain refers to the steady state of a sound, and the release represents the time period in which it fades to silence. Sound Object – A sound-event possessing a basic perceptual and temporal unity, con- taining characteristic features that can be verbally described. From a perceptual point of view this connects to the concept of Auditory Image. Tension and Release – In music, tension represents the perceived need for relaxation or release created by a listener’s expectation. Pattern processes controlled by the composer may set up this feeling of expectation. v TABLE OF CONTENTS Overview: Volume I: Written Text Part I – Historical Timbre Part II – Theory and Proposition Part III – Application and Analysis Volume II: Musical Score VOLUME I ABSTRACT ........................................................................................................ ii RÉSUMÉ ............................................................................................................ iii ACKNOWLEDGEMENTS ................................................................................ iv GLOSSARY ........................................................................................................ v INTRODUCTION................................................................................................ 1 Description.................................................................................................. 1 Original Contributions................................................................................ 1 Organization................................................................................................ 3 PART I HISTORICAL TIMBRE CHAPTER 1 – Timbre: Definition and Structure.......................................... 6 1.1 Introduction.................................................................................................... 6 1.2 Defining Timbre........................................................................................... 6 1.2.1 Origins ...........................................................................................
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