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Musical Expressions of Astronomy and Cosmology

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Musical Expressions of Astronomy and Cosmology COSMOPHONIA : MUSICAL EXPRESSIONS OF ASTRONOMY AND COSMOLOGY Elaine diFalco, B.M. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2018 APPROVED: Joseph Klein, Major Professor and Chair of the Division of Composition Studies Martin Back, Committee Member David Stout, Committee Member Jon Nelson, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond: Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School diFalco, Elaine. “Cosmophonia”: Musical Expressions of Astronomy and Cosmology. Master of Arts (Music), August 2018, 113 pp., 22 figures, 3 musical scores, bibliography, 82 titles. Astronomy and music are both fundamental to cultural identity in the form of various musical styles and calendrical systems. However, since both are governed by incontrovertible laws of physics and therefore precede cultural interpretation, they are potentially useful for insight into the common ground of a shared humanity. This paper discusses three compositions inspired by different aspects of astronomy: Solstitium e Equinoctium, a site-specific composition for four voices and metal pipes involving an inclusive communal musical ritual and sonic meditation; Helios, a short symphonic work inspired by helioseismology; and Perspectives, a piece for soprano and percussion based on a logarithmic map of the universe. Copyright 2018 By Elaine diFalco ii ACKNOWLEDGEMENTS During my time at University of North Texas I have had to negotiate many steep learning curves. These would not have been as approachable without the invaluable encouragement and guidance from my professors. In particular, I thank David Stout who has generously taught me about time-based visual aesthetics and intermedia art, and has opened up many avenues for me in my professional development, Martin Back for all his help and guidance in intermedia and video art that goes far beyond clinical approach, Joseph Klein for his advice as a composer and conductor in navigating the many obstacles I faced in developing my compositions, Kirsten Broberg for her endless assurances and advice as I struggled with Helios, and Jon Nelson and Panaiotis Kokoras for introducing me to acousmatic music. Thanks also to Tim Larson for helping me understand helioseismology. Thanks goes to Ron DiIulio, Preston Starr, and Ryan Bennett for opening the doors to the Astronomy Department and the Sky Theater Planetarium to me. Much appreciation goes to J. Richard Gott for letting me use his beautiful graphic. Thanks also to family and friends that provided immeasurable support in a variety of ways to the pursuit of this degree: Kevin Walczyk, Diane Baxter, Beverly Morrison, Jeff Mince, Monica and Theresa, Mimi Kearns, Sherri Drummond, Kayre Axe, Greg Sherman, Ginger McKay, Julia DeMarines, Jane Rigler, Janet Feder, Fred Chalenor, Henry Franzoni, Diane Kintrea, Kelly Ricks, Stephanie Gooding, Marco Nardelli, Mike Johnson, Mark Harris, Farrell Lowe, Dave Willey, Peter Erskine, Bruce Odland, Mark Fuller, Jeremiah Moore, Sammi Wade, Elaine Urie, Heather Zadra, and Maury Sankey. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF FIGURES .......................................................................................................... v PART I. CRITICAL ESSAY ............................................................................................. 1 Chapter 1. Introduction: Mutual Origins and Cultural Crossroads ......................... 2 Chapter 2. Solstitium e Aequinoctium ................................................................. 10 Chapter 3. Helios ................................................................................................ 21 Chapter 4. Perspectives ..................................................................................... 30 Chapter 5. Moving Forward ................................................................................ 36 Bibliography ........................................................................................................ 39 PART II. MUSICAL SCORES ........................................................................................ 45 Solstitium e Aequinoctium .................................................................................. 46 Performance Notes .................................................................................. 48 Program Notes ......................................................................................... 49 Set-Up Instructions for the Tank .............................................................. 50 Score ....................................................................................................... 51 I. Time Out of Mind ........................................................................ 51 II. Between Dualities ..................................................................... 65 III. Now Rise .................................................................................. 71 Helios ................................................................................................................. 75 Instrumentation ........................................................................................ 76 Program and Analysis Notes ................................................................... 77 Dedication ................................................................................................ 78 Acknowledgements .................................................................................. 78 Performance Notes .................................................................................. 79 Score ....................................................................................................... 80 Perspectives ..................................................................................................... 104 Notes ..................................................................................................... 105 Score ..................................................................................................... 108 iv LIST OF FIGURES Page Figure 1.1: Image from the thirteenth-century book of polyphony, Magnus liber organi illustrating Boethius’s stratified Music of the Spheres. The uppermost image depicts musica mundana. ............................................................................................................ 5 Figure 1.2: Johannes Kepler’s planetary scales from Harmonices mundi, 1619. ............ 6 Figure 1.3: A time-lapse view of circumpolar stars over Pueblo Bonita at Chaco Culture National Historic Park, New Mexico. ............................................................................... 7 Figure 1.4: Charles Ross’s Star Axis. .............................................................................. 8 Figure 1.5: James Turrell’s Roden Crater. ...................................................................... 9 Figure 2.1: Peter Erskine’s proto-prism casting a spectrum on the interior wall of the Tank. ............................................................................................................................. 10 Figure 2.2: Permutations of the gamelan set class (0257) and where those permutations have common tones with the pitch class set of the gamelan. .................. 17 Figure 2.3: Permutations of the gamelan set class (0137) and where those permutations have common tones with the pitch class set of the gamelan. ........................................ 17 Figure 2.4: Permutations of the gamelan set class (0146) and where those permutations have common tones with the pitch class set of the gamelan. ........................................ 18 Figure 2.5: Distilled set class comparisons down to limited materials. The set classes actually utilized are indicated by red.............................................................................. 18 Figure 3.1: Graphic analysis of Messmer’s audio file of the solar flare of November 23rd, 1998. ............................................................................................................................. 24 Figure 3.2: The thematic scale derived from Messmer’s flare shown in Fig. 3.1. .......... 24 Figure 3.3: Generalization of how Messmer’s flare is orchestrated in measures 30, 48, 62, 70, and 108. ............................................................................................................ 24 Figure 3.4: A graphic analysis of another moment from Messmer’s flare from November 23rd, 1998, orchestrated in measures 45, 67, and 103. ................................................. 26 Figure 3.5: Graphic analysis of the solar flare from November 4th, 2003 orchestrated in measures 31 to 46 in the strings. .................................................................................. 27 Figure 3.6: Thematic figure played in the harp, derived from Messmer’s flare of November. ..................................................................................................................... 28 v Figure 3.7: Horns augmenting the theme. This occurs from measures 72 through 96. 28 Figure 4.1: Logarithmic Map of the Universe by J. Richard Gott et al. .......................... 31 Figure 4.2: How the x- and y-axes are delineated for the percussion where x is time and y is pitch. The red dashed lines indicate where the measures are divided in the music. .....................................................................................................................................
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