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Sonification As a Means to Generative Music Ian Baxter

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Sonification As a Means to Generative Music Ian Baxter Sonification as a means to generative music By: Ian Baxter A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts & Humanities Department of Music January 2020 Abstract This thesis examines the use of sonification (the transformation of non-musical data into sound) as a means of creating generative music (algorithmic music which is evolving in real time and is of potentially infinite length). It consists of a portfolio of ten works where the possibilities of sonification as a strategy for creating generative works is examined. As well as exploring the viability of sonification as a compositional strategy toward infinite work, each work in the portfolio aims to explore the notion of how artistic coherency between data and resulting sound is achieved – rejecting the notion that sonification for artistic means leads to the arbitrary linking of data and sound. In the accompanying written commentary the definitions of sonification and generative music are considered, as both are somewhat contested terms requiring operationalisation to correctly contextualise my own work. Having arrived at these definitions each work in the portfolio is documented. For each work, the genesis of the work is considered, the technical composition and operation of the piece (a series of tutorial videos showing each work in operation supplements this section) and finally its position in the portfolio as a whole and relation to the research question is evaluated. The body of work is considered as a whole in relation to the notion of artistic coherency. This is separated into two main themes: the relationship between the underlying nature of the data and the compositional scheme and the coherency between the data and the soundworld generated by each piece. With the help of the mill I will make unending sounds from all sorts of instruments, which will sound for so long as the mill shall continue to move. —Leonardo da Vinci When new instruments will allow me to write music as I conceive it, taking the place of the linear counterpoint, the movement of soundmasses, of shifting planes, will be clearly perceived...The entire work will be a melodic totality. The entire work will flow as a river flows. —Edgard Varèse, The Liberation of Sounds This is not an eternity that begins at the end of time, but an eternity that is present in every moment. I am speaking of musical forms in which apparently no less is being undertaken than the explosion – yes – even more, the overcoming of the concept of duration. —Stockhausen, Momentform Our grandchildren will look at us in wonder and say: ‘You mean you used to listen to exactly the same thing over and over again?’ —Brian Eno I mean, pretty much all ambient music is major 7th chords, so harmony was going to be a big deal – how to approach harmony with this. Major 9th is also very popular: those are the two go-to harmonies in ambient music, if it isn’t just a perfect 5th. —Jim O'Rourke Acknowledgements This thesis is dedicated to all my music teachers. I am grateful to the Julian Payne Tuition Scholarship for their contribution to my fees. No undertaking of this size would be possible without the love and support of family and friends so thank you firstly to Alex for your love and understanding and to Billy, Jack and Ariane for keeping my feet on the ground and reminding me that some things are more important than music. To my parents Stuart and Gill for their unstinting support in all my musical endeavours. To all those friends and family who have acted as sounding boards and sat through my ramblings. To my supervisor Professor Adrian Moore, our supervision sessions have always sent me away with renewed enthusiasm for the task at hand and I will miss them dearly. To my technical gurus who have indulged with great humour and patience my queries about how I might actually make my ideas happen; to begin with Dr Dave Moore and latterly (soon to be Dr) James Surgenor whose gnomic utterances and koans (admittedly mostly “this would work better in SuperCollider”) have prompted many a revelation and change in direction. Finally, to Ben and Jenny for looking over my writing and their advice on putting my commas, hyphens and brackets right. Table of Contents 1.Personal Motivation and Research Aims...........................................................................................1 1.1 My practice......................................................................................................................................................1 1.2 From post-rock to generative music...............................................................................................................1 1.3 No beginning, middle or end. .........................................................................................................................2 1.4 Introducing chance..........................................................................................................................................3 1.5 Playing the weather.........................................................................................................................................4 1.6 Towards my research questions......................................................................................................................5 2.Some definitions ...............................................................................................................................7 2.1 Defining Sonification......................................................................................................................................7 2.1.1 Basic Definitions..................................................................................................................................................7 2.1.2 Taxonomy of sonification methods.......................................................................................................................9 2.1.3 Some analytical tools: the analogic-symbolic continuum, indexicality, first and second order sonifications......10 2.1.4 Sonification or data driven art?...........................................................................................................................12 2.1.5 Artistic Themes I: A question of honour; being “true to the data” ......................................................................18 2.1.6 Artistic Themes II: Making the inaudible audible...............................................................................................19 2.1.7 Concluding remarks on defining sonification.....................................................................................................20 2.2 Defining Generative Music ..........................................................................................................................21 2.2.1 Generative Music, algorithmic music.................................................................................................................21 2.2.2 Working in real time...........................................................................................................................................22 2.2.3 Infinite Music? Music as a gradual (and endless) process ..................................................................................24 2.2.4 Concluding remarks on defining generative music............................................................................................26 2.3 Sonification as a means to generative music: some touchstones..................................................................27 2.3.1 John Luther Adams' The Place Where You Go to Listen.....................................................................................28 2.3.2 John Eacott – Flood Tide...................................................................................................................................30 2.3.3 Robert Watts, David Behrman & Bob Diamond - Cloud Music..........................................................................31 2.3.4 Concluding remarks on touchstones and defining artistic coherence..................................................................32 3.Methodology....................................................................................................................................33 4.The Works .......................................................................................................................................35 4.1 Troy Ounce....................................................................................................................................................35 4.1.1 Genesis and Influence.........................................................................................................................................35 4.1.2 Technical Report.................................................................................................................................................37 4.1.3 Evaluation...........................................................................................................................................................37 4.2 Ephemeris de la Lune....................................................................................................................................38 4.2.1 Genesis and Influence.........................................................................................................................................38 4.2.2 Technical Report.................................................................................................................................................39
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