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UNIVERSITY of CALIFORNIA Santa Barbara Analyzing With UNIVERSITY OF CALIFORNIA Santa Barbara Analyzing with Compositional Static Artifacts of MIDI-mediated Mixed-Media Music A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Elizabeth Jean Hambleton Committee in charge: Professor Benjamin Levy, Chair Professor Janet Bourne Professor Curtis Roads September 2020 The dissertation of Elizabeth Jean Hambleton is approved. _____________________________________________ Janet Bourne _____________________________________________ Curtis Roads _____________________________________________ Benjamin Levy, Committee Chair September 2020 (docu-signed) Analyzing with Compositional Static Artifacts of MIDI-mediated Mixed-Media Music Copyright © 2020 by Elizabeth Jean Hambleton iii ACKNOWLEDGMENTS This dissertation would have been impossible without the guidance of my advisor, Prof. Ben Levy, and the support and help of my committee members Prof. Curtis Roads and Prof. Janet Bourne. Thank you for everything. I owe a great debt to Prof. Martha Sprigge, Eugenia Conte, Jillian Fischer, Sunaina Kale, and the rest of the dissertation workshop cohort for reading my drafts with definitely not enough heads-up and still giving brilliantly insightful feedback. This document would not have made it to this stage without their unending support. I extend a special thanks to Kate Morics for her stupendous support in helping to clean up formatting, my least favorite writing task. Many thanks go out to the composers at UCSB, especially Nick Norton, Kramer Elwell, Matt Owensby, and Raphael Radna, who listened to strange CDs with me, helped track down rare scores, trained me learn to write music in DAWs and with programming languages, and encouraged my own compositional efforts. The music library staff has my gratitude for the many years we were coworkers and colleagues, and the multiple occasions they helped me track down a rare CD, scanned chapters for me during the pandemic, and let me sleep off migraines in the video room. I cannot forget to extend my appreciation to the ludomusicology community, for the intellectual video game sessions, deep dives into non-music related philosophies and theories iv that became foundational to my research both in electroacoustic music and videogame music, and the genuine camaraderie and support. I owe a debt of gratitude to Prof. Bob Hasegawa and my classmates from the Eastman School of Music’s theory seminar in the summer of 2017, where I was fortunate to stay in Paris to listen to live electronic music from IRCAM every day for a month. It was the tart pan clang that kicked off this entire dissertation (read chapter 3 to get the reference). My parents never doubted me for a second, even when I did. Thank you for your endless and unwavering support, Mom and Dad. And last but not least in the acknowledgments, I thank my husband Rodney DuPlessis, who never ceased to cheer me on, always encouraged me to try my best even when I felt out of my depth, and made sure the cats didn’t interrupt too many very important video conferences. Thanks for sharing my obsession of really-out-there music and sounds. Finally, this dissertation is dedicated to my grandfather, Bert Hambleton Sr. (1925- 2016), who always hoped there would be a Dr. Hambleton someday, and to my grandmother, Marian Elizabeth Hambleton (1926-2006), who helped me fall in love with music. v VITA OF ELIZABETH JEAN HAMBLETON August 2020 EDUCATION Bachelor of Arts in Music (Theory/Composition Emphasis), Whitman College, May 2013 Master of Arts in Music Theory, University of California, Santa Barbara, June 2017 Certificate of College and Undergraduate Teaching, University of California, Santa Barbara, August 2020 Doctor of Philosophy in Music Theory, University of California, Santa Barbara, August 2020 (expected) PROFESSIONAL EMPLOYMENT 2014-2019: Teaching Assistant, Department of Music, University of California, Santa Barbara 2019-2020: Teaching Associate, Department of Music, University of California, Santa Barbara PUBLICATIONS “Book Review: Unlimited Replays (2018) by William Gibbons. Oxford, UK: Oxford University Press, 2018.” Journal of the Society for American Music 14.3 (August 2020) “Grey Areas: Analyzing Navigable Narratives in the not-so-uncanny valley between Soundwalks, Videogames, and Interactive Books.” Journal of Sound and Music in Games (UC Press), vol. 1. (January 2020). “The Sound of Faith and Feminism in Everybody’s Gone to the Rapture.” (book chapter in progress, Routledge) vi “Traversing the Intersections of Navigable Narratives” (book chapter in progress for the Oxford Handbook of Video Game Sound and Music, 2022) AWARDS Graduate Student Association Award for Teaching Excellence (nominated, 2020) Roger Chapman Memorial Award in Music Theory (2018, 2019) Corwin Award in Composition (3rd place, electronic-acoustic category, 2018, 2019; 2nd place, percussion category, 2016; 2nd place, small ensemble category, 2016) Departmental Fellowship for Graduate Studies (2015, 2016, 2017, 2018) FIELDS OF STUDY Major Fields: Electroacoustic Analysis; Ludomusicology Studies in Electronic Music with Professors Benjamin Levy and Curtis Roads Studies in Film Music with Professor Janet Bourne vii ABSTRACT: Analyzing with Compositional Static Artifacts of MIDI-mediated Mixed- Media Music by Elizabeth Jean Hambleton This dissertation examines the static artifacts of electroacoustic multimedia music written after the development of MIDI (Musical Instrument Digital Interface) in 1983. Static artifacts is an umbrella term I have coined for the collective types of traditional and extended musical notation, text or graphic scores, screenshots of digital audio workspaces (hereafter: DAWs), code, and so on that are non-dynamic visual manifestations of a piece of music. The digital era brought about fundamental shifts in compositional practices and notation. In this dissertation, I examine some of the varied ways that composers use technology in mixed- media electroacoustic works, considering both how they notate the electronics and how one may analyze the work taking into account the technology and unique notation. I demonstrate methods of analysis in several case studies focusing on compositions by Philippe Hurel, Trevor Wishart, Anne Deane Berman, and Paulo Chagas, and with particular attention to their static artifacts. I draw from notation studies and semiotics to support recent theories of electroacoustic analysis by scholars such as of Simon Emmerson and Leigh Landy (2016). I also use the method of multimedia analysis from Nicholas Cook (1999) for works that incorporate visual, textual, and dramatic elements. Where applicable, I viii apply the composers’ written thoughts, from books or articles, to the static artifact they made for a piece of music. Wishart and Chagas, for example, have both written extensively on their own styles and on the state of electronic music and electronics in music. While I find there are more similarities than differences between the case studies, each composer manages a unique way of incorporating electronics into their music and into their static artifact. My work provides analysts with more tools for electroacoustic analysis by shedding light on the static artifact. ix Table of Contents List of Figures ......................................................................................................................................xiii List of Tables ........................................................................................................................................ xv Introduction ............................................................................................................................................ 1 Methodology ...................................................................................................................................... 4 Chapter Outlines ................................................................................................................................. 5 Chapter 1: The State of Electroacoustic Analysis & The Static Artifact ............................................. 16 Introduction ...................................................................................................................................... 16 A brief history of electroacoustic music and its notation ................................................................. 19 Evolving technology & notation: programming ............................................................................... 26 A new notational paradigm: The Static Artifact ............................................................................... 33 The changing notation and landscape of electronic music in the late twentieth century .................. 37 What MIDI is ................................................................................................................................ 37 What has MIDI done to music? .................................................................................................... 38 Composition in the Age of MIDI (1983-2020) ................................................................................ 44 Composition at studios in the 1990s ............................................................................................. 48 New genres, protocols, and styles for the end of the century ........................................................... 50 Chapter 2: Electroacoustic Music Theory & Notation ........................................................................
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