DOCSLIB.ORG

TWIST by JODIE BLACKSHAW

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TWIST by JODIE BLACKSHAW About the composer: Jodie Blackshaw grew up in the Riverina, NSW and after completing high school, studied a Bachelor of Music in Composition with Professor Larry Sitsky at the Australian National University, School of Music. Since then, she has worked teaching music to students of all ages and conducting a variety of ensembles in several different settings, from remote country centres to the inner city. The influence of Orff-Schulwerk methodology is a significant influence of Jodie’s teaching practice and composition. In December 2012, Jodie presented the clinic ‘Get off the Podium’ alongside Dr. Mark Fonder of Ithaca College and conductor Professor Craig Kirchhoff at the Midwest Clinic in Chicago, Illinois. This clinic, advocating her unique compositional style and inclusive teaching approach to ensemble, offered directors opportunities to explore musical elements other than melody and harmony. Jodie is passionate about inspiring teachers and musicians to be active in the music making process. Jodie won the inaugural Frank Ticheli Composition Contest earning her publication of a Grade 1 piece Whirlwind. Whirlwind was premièred at the Midwest clinic in 2006 and now appears on several state band lists. A second work, Terpsichorean Dances was awarded 2nd place in ‘Category 2’ of the same competition. Jodie resides in the Blue Mountains, New South Wales, Australia with her husband David and daughter Matilda and works full-time as a composer and appears as a guest clinician and adjudicator for band festivals throughout Australia. Jodie is fanatical about producing quality, meaningful works for band. She desires that her music not just be "another piece, but an educational and spiritual journey for both the players and the director". To find out more about Jodie and her works go to: www.jodieblackshaw.com. TWIST by JODIE BLACKSHAW TWIST was commissioned by a consortium led by the Australian Band and Orchestra Directors’ Association, Queensland. TWIST was premiered at the Australian National Band and Orchestra Clinic 2012. Many thanks to the following director and their schools for making this project possible: Marist College Ashgrove Craig Kennedy, Conductor Canterbury College Lewes Peddell, Conductor Villanova College Peter Morris, Conductor Brisbane Girls’ Grammar School Paul Kucharski, Conductor West Moreton Anglican College Symphonic Band Lisa Holownia, Conductor Newington College Luke Gilmour, Conductor Albion College Symphonic Band (USA) Sam McIlhagga, Conductor Ithaca College Concert Band (USA) Dr Mark Fonder, Conductor Queensland Wind Orchestra David Law, Conductor Helensvale State High School Wind Symphony Renee Wolf, Conductor Australian Band & Orchestra Directors’ Association Joanne Heaton, President Victoria Branch The Arts Unit Stephen Williams, Conductor NSW Department of Education and Communities NOTES for the CONDUCTOR Please feel free to use these notes to tell the stories of the Murray River to your ensemble and audience Twist, composed for wind orchestra, is inspired by the shape, spirit and history of Australia’s magnanimous waterway, the Murray River (the Wiradjuri people of the Albury-Wodonga region call the river ‘Millewa’). The work is divided into 6 sections, each is subtitled: I - ‘Survival’. This powerful opening was stimulated by the indigenous story of ‘Tiddalick the Frog’. There are assorted versions of this Dreamtime fable but essentially, it tells of a colossal, greedy amphibian who consumes the entire river without any thought for the inhabitants of his bionetwork. This forthright, almost violent introduction to your journey along the river is driven by bass and percussion; it seeks to paint Tiddalick’s volatile movements whilst he selfishly gorges on the region’s lifeblood. “From that dark recess There is a voice cursing. Soon a snarl echoes In the body dark, and From the lip, a fall, All things descending, Where the River’s anger smashes Itself amongst the stones. In twist and scream it heaps upon itself One giant convulsion, and From this mouth a roar repeats Over and again. But in its vicious chant, In its water heavy air, It inhales, and The monster’s skin is rent.” Excerpt from Rapid Acoustic II - ‘Reflection’ speaks of the majestic beauty the river displays at dawn and dusk. At times, the water is so very calm a perfect mirror image of the surrounding landscape is reflected on the water’s surface, bringing a sensation of inner peace to any spirit who is fortunate enough to experience such splendour. The elegance of the Vibraphone pitted against a meandering Flute solo and unpredictable bass line reflects the stillness of the river but the hidden undercurrents that lurk just beneath the surface. “Upon that westward reach, The mirrored trees and banks are gone In a play of light and dark. The reflection of myself alone, The words, the world, forgone. Beneath the gums a shimmering light, Wave upon wave reflecting, and I am no longer solid, I have no reflection of myself, I shimmer In the light of the River.” Excerpt from The Light of the River III - ‘Discovery’ reveals the arrival of European settlers and the introduction of paddleboats in the mid-1800s. These steam- powered beasts enabled essential supplies to be delivered to farmers working the land in arid, remote regions. The magnificence of the towering cliffs must have be an awesome sight to newcomers navigating this often treacherous waterway. These discoveries inspire a chorus of brass rising above busy, interlocking woodwinds and pulsating percussion, transforming into a glittering, joyous melody that echoes the enthusiasm and spirit of the paddleboats themselves. Just as dawn is announced by a chorus of Kookaburras, so to is this movement but instead of a recording, the call of these idiosyncratic Australian birds is emulated here by the Trumpet section using various playing techniques and plunger mutes. “Deep in the range threads a singing path Where every bend reveals a world of sheer Too steep for life to cling. Beneath a plunge from cloud to liquid deep, Where it repeats and arcs away, Beneath a world of drift, a song, A chime against the stone, A whispered word, Too soft for you and I to hear. But all the time it steals away The mountain chain, Grain by grain, Till none remain, But the mute white beach.” The Gorge Country IV - ‘Obsession’. Following the paddleboats is a bush soundscape, painting the timbral colours experienced at the campfire at dusk. This is usurped by a sleazy late night Tango featuring at first the Soprano then Baritone Saxophone. The river is as deceiving as it is beautiful. Whilst the calm and innocent surface has lured many into the Murray’s embrace, precarious snags, unseen creatures and treacherous undercurrents present many hazards. Even with experience the Murray still makes those in love with her unable to resist her temptations “Catch me I’m falling Now catch me I’m falling, Down the face of Old Barmah Country. On each river bend The world in unwinding, Forever unwinding. ...Now I’m folding, folding, Country ‘round me Like an old possum-skin cloak, As the River is cutting, Carrying and carving, Away my intelligence, To leave me primitive..” Excerpt from ‘Catch me I’m falling’ V - ‘Carnevale’ is the Italian term for carnival or festival and is used here to capture the profound influence of Mediterranean culture in the South West regions of New South Wales. In the late 1940s and early 1950s hundreds of Italian people migrated to Australia and thanks to the development of the Murrumbidgee Irrigation Area and many years of strenuous labour, they helped to transform otherwise unworkable land into thriving viticultural regions. Whilst many despise the changes that man has brought to the Murray and her surrounding landscape, no-one can deny that these one-time immigrants, now the Great-Grandfathers and Mothers of second and third generation Australians, have promoted positive change in Australia. The melodic material used in this section is inspired by the Italian folk dance the ‘Tarantella’ and is simply bursting with energy and joy. ‘I feel My skin begin to peel, Unpuzzling, forgetting. I am emptying, and My headwater is a circle Winding into a vortex. Accelerate! Accelerate! Suck me down The hollowed out tube The River is carving for itself. Excerpt from Headwater VI – Ascension. Through all of these twists and turns the piece comes back to where we started using material from ‘Survival’. Not only does this implicate the lifecycle of the eco-system, it also hopes to challenge all listeners to consider this; how do we successfully sustain of our beloved Murray River? As now it not only affects the natural inhabitants, it encompasses all who prosper from her bounty, and that means you. Ego dissolves, The body, osmotic, Is everywhere, And all I’m hearing Is the sound of water Falling on stone, The echo of myself, And my own body, Ringing.’ Excerpt from Headwater ACKNOWLEDGEMENT: I extend my deep thanks and gratitude to Dr. Brian Wattchow of Monash University for granting permission to publish excerpts of his poetry as published by Ginninderra Press in ‘The Song of the Wounded River’ in this score. To embrace alternate learning styles and hopefully stimulate emotional connection for your players, I ask that you share this poetry with them in the hope that it will breathe life into every moment of ‘Twist.’ REHEARSAL NOTES Images of the Murray River are available at http://www.murrayriver.com.au/education/photos/. Please use them in your program notes where available and any others you deem appropriate. I - SURVIVAL The opening is fast and furious. It is relentless, driving and passionate. It is all consuming, greedy, hungry and gleefully gluttonous. It is driven by the Timpani and Snare Drum; the quaver figures must be exact and tight. If these are in any way sloppy and not together, the whole opening sounds messy and unconvincing.
Load more

Recommended publications
  • TITLE Secondary Music (8-12): a Guide/Resource Book for Teachers
    DOCUMENT RESUME ED 221 408 SO 013 861 TITLE Secondary Music (8-12): A Guide/Resource Book for Teachers. INSTITUTION British Columbia Dept. of Education, Victoria. Curriculum Development Branch. PUB DATE 80 NOTE 248p. EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS Bands (Music); Choral Music; Course Content; *Curriculum Development; Curriculum Guides; Educational Objectives; Evaluation Methods; Jazz; Music Activities; Musical.Composition; *Music Education; Orchestras; Resource Materials; Secondary Education; Singing IDENTIFIERS Stringed Instruments ABSTRACT Goals and objectives, lesson ideas, evaluation techniques, and other resources to help secondary musicteachers in British Columbia organize and develop musicprograms are provided in this resource book. An introductory section briefly discussesthe secondary music program, presenting a scope andsequence and outlining goals and leatnieg outcomes. Following this, thebook is divided into four major sections,one for each of the major areas of music: band; choral music; strings; and music composition.Learning outcomes and related content are outlined for eacharea. Sample outlines and units, suggested seating plans, glossaries, and bibliographies of reierence materialsare also provided for each music area. The appendices containan outline of fine arts goals for secondary school programs, evaluation suggestions and plans,a sample student practice report form, tips for planning field trips,a listing of professional music associations and journals,suggestions for class projects, and listings of
    [Show full text]
  • 2019 JUNO Award Nominees
    2019 JUNO Award Nominees JUNO FAN CHOICE AWARD (PRESENTED BY TD) Alessia Cara Universal ​ ​ Avril Lavigne BMG*ADA ​ bülow Universal ​ ​ Elijah Woods x Jamie Fine Big Machine*Universal ​ KILLY Secret Sound Club*Independent ​ Loud Luxury Armada Music B.V.*Sony ​ NAV XO*Universal ​ Shawn Mendes Universal ​ The Weeknd The Weeknd XO*Universal ​ Tory Lanez Interscope*Universal ​ SINGLE OF THE YEAR Growing Pains Alessia Cara Universal ​ ​ ​ Not A Love Song bülow Universal ​ ​ Body Loud Luxury Armada Music B.V.*Sony ​ ​ In My Blood Shawn Mendes Universal ​ ​ Pray For Me The Weeknd, Kendrick Lamar Top Dawg Ent*Universal ​ ​ INTERNATIONAL ALBUM OF THE YEAR Camila Camila Cabello Sony ​ ​ Invasion of Privacy Cardi B Atlantic*Warner ​ ​ ​ Red Pill Blues Maroon 5 Universal ​ ​ beerbongs & bentleys Post Malone Universal ​ ​ ASTROWORLD Travis Scott Sony ​ ​ ALBUM OF THE YEAR (SPONSORED BY MUSIC CANADA) Darlène Hubert Lenoir Simone*​ Select ​ ​ These Are The Days Jann Arden Universal ​ ​ Shawn Mendes Shawn Mendes Universal ​ ​ My Dear Melancholy, The Weeknd The Weeknd XO*Universal ​ ​ Outsider Three Days Grace RCA*Sony ​ ​ ARTIST OF THE YEAR (PRESENTED WITH APPLE MUSIC) Alessia Cara Universal ​ ​ Michael Bublé Warner ​ Shawn Mendes Universal ​ The Weeknd The Weeknd XO*Universal ​ Tory Lanez Interscope*Universal ​ ​ GROUP OF THE YEAR (PRESENTED WITH APPLE MUSIC) ​ Arkells Arkells*Universal ​ ​ Chromeo Last Gang*eOne ​ Metric Metric Music*Universal ​ The Sheepdogs Warner ​ Three Days Grace RCA*Sony ​ January 29, 2019 Page 1 of 9 2019 JUNO Award Nominees
    [Show full text]
  • NEWS RELEASE FEBRUARY 7, 2018 AREA 506 Breaks up New
    NEWS RELEASE FEBRUARY 7, 2018 AREA 506 breaks up New Brunswick Winter to present The Sheepdogs in Saint John SASKATCHEWAN ROCKERS TO PERFORM AT THE KENT THEATRE MARCH 13 Saint John, NB – Saint John’s Area 506 Festival, in partnership with Shivering Songs, has announced that the Sheepdogs’ Changing Colours release tour will hit the Port City March 13 at the Kent Theatre. Special guests include Dine Alone Recording artists and princes of the underground, Sam Coffey and the Iron Lungs. Tickets go on sale this Thursday, February 8 at area506.ca. “The Sheepdogs have been on our wish list since 2016, and when we heard they were coming through New Brunswick, we knew it was something we needed to aggressively pursue” said Ray Gracewood, Chairperson for Area 506. “Saint John needs to be an option for these bands, and we’re confident the people of Saint John will support great rock & roll. We’ve got this great momentum happening now, and we’ll continue to do what we can to ensure great bands have the Port City on their radar”. The Sheepdogs became the first unsigned band to appear on the cover of Rolling Stone Magazine in 2011. They’ve since become one of the most in demand acts in North America. Two years on from delivering Future Nostalgia, the band have lifted the curtain on their sixth studio effort, Changing Colours. Running 17 tracks in length, it marks the first album to feature guitarist Jim Bowskill, who joined in 2015. The Juno Award winners have already shared Changing Colours’ debut single, "I've Got a Hole Where My Heart Should Be.” "This album has a much wider range of sounds on it: trombone, clarinet, Latin percussion, pedal steel, fiddle and banjo all make an appearance," the band said in a statement.
    [Show full text]
  • The Cambridge Companion To: the ORCHESTRA
    The Cambridge Companion to the Orchestra This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestra’s continued role in a changing society. Other topics discussed include the art of orchestration, score-reading, conductors and conducting, international orchestras, and recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts. Colin Lawson is a Pro Vice-Chancellor of Thames Valley University, having previously been Professor of Music at Goldsmiths College, University of London. He has an international profile as a solo clarinettist and plays with The Hanover Band, The English Concert and The King’s Consort. His publications for Cambridge University Press include The Cambridge Companion to the Clarinet (1995), Mozart: Clarinet Concerto (1996), Brahms: Clarinet Quintet (1998), The Historical Performance of Music (with Robin Stowell) (1999) and The Early Clarinet (2000). Cambridge Companions to Music Composers
    [Show full text]
  • Musical Synaesthesia in Synaesthetes and Its
    MUSICAL SYNAESTHESIA IN SYNAESTHETES AND ITS MANIFESTATION AS A WIDER PHENOMENON c. MARK BEAUMONT. Submitted as part of a PhD assessment by the Department of Music of the University of Sheffield. SEPTEMBER 2003. 1 Acknowledgements While claiming full responsibility for the work contained in this volume, and consequently request that the work be acknowledged as mine when used for future academic research, and permission sought in all other cases, its production would not have been possible without much support, formal and informal, technical and academic and cooperation. While the sources of such assistance are too many to list on this page and while this thesis is no exception to the assertion that every piece of academic writing has its story-of-the-making to tell, I feel it especially appropriate to thank Eric Clarke, my supervisor in the Music Department for his guidance. Second on the list is my gratitude to the many people who have been able to advise me with regards to the various areas that this interdisciplinary work has included. All ideas that were not my own ultimately, of course, came from available sources, but to be able to almost rely on people for inspiration has been a countless asset throughout these years. Finally, every thesis relies on outcomes which in tum generally depend on empirical research. This requires people who used to be called 'subjects' but who we now refer to as 'participants'. I believe that this change of language is a good thing since it encourages experimenters not to take them for granted and to ensure that their experience in the experimentation room is a possible one.
    [Show full text]
  • 2019 JUNO Award Nominees
    2019 JUNO Award Nominees JUNO FAN CHOICE AWARD (PRESENTED BY TD) Alessia Cara Universal ​ ​ Avril Lavigne BMG*ADA ​ bülow Universal ​ ​ Elijah Woods x Jamie Fine Big Machine*Universal ​ KILLY Secret Sound Club* Independent ​ Loud Luxury Armada Music B.V.*Sony ​ NAV XO*Universal ​ Shawn Mendes Universal ​ The Weeknd The Weeknd XO*Universal ​ Tory Lanez Interscope* Universal ​ SINGLE OF THE YEAR Growing Pains Alessia Cara Universal ​ ​ ​ Not A Love Song bülow Universal ​ ​ Body Loud Luxury Armada Music B.V.*Sony ​ ​ In My Blood Shawn Mendes Universal ​ ​ Pray For Me The Weeknd, Kendrick Lamar Top Dawg Ent*Universal ​ ​ INTERNATIONAL ALBUM OF THE YEAR Camila Camila Cabello Sony ​ ​ Invasion of Privacy Cardi B Atlantic*Warner ​ ​ ​ Red Pill Blues Maroon 5 Universal ​ ​ beerbongs & bentleys Post Malone Universal ​ ​ ASTROWORLD Travis Scott Sony ​ ​ ALBUM OF THE YEAR (SPONSORED BY MUSIC CANADA) Darlène Hubert Lenoir Simone*​ Select ​ ​ These Are The Days Jann Arden Universal ​ ​ Shawn Mendes Shawn Mendes Universal ​ ​ My Dear Melancholy, The Weeknd The Weeknd XO*Universal ​ ​ Outsider Three Days Grace RCA*Sony ​ ​ ARTIST OF THE YEAR (PRESENTED WITH APPLE MUSIC) Alessia Cara Universal ​ ​ Michael Bublé Warner ​ Shawn Mendes Universal ​ The Weeknd The Weeknd XO*Universal ​ Tory Lanez Interscope*Universal ​ ​ GROUP OF THE YEAR (PRESENTED WITH APPLE MUSIC) ​ Arkells Arkells*Universal ​ ​ Chromeo Last Gang*eOne ​ Metric Metric Music*Universal ​ The Sheepdogs Warner ​ Three Days Grace RCA*Sony ​ January 29, 2019 Page 1 of 8 2019 JUNO Award Nominees
    [Show full text]
  • Visual Music Composition with Electronic Sound and Video
    Visual Music Composition with Electronic Sound and Video Mr David Payling A thesis submitted in partial fulfilment of the requirement of Staffordshire University for the Degree of Doctor of Philosophy August 2014 ii Acknowledgements I would like to thank my PhD supervisors for their invaluable support throughout the entire research project. They are: Professor Stella Mills of Staffordshire University and Professor Tim Howle of the University of Kent Contents iii Contents Contents iv Contents CONTENTS IV LIST OF TABLES VII LIST OF FIGURES VIII DVD CONTENTS X DVD 1. HUE MUSIC PROGRAM. THESIS ELECTRONIC COPY X DVD 2. THE COMPOSITION PORTFOLIO X ABSTRACT XII 1. INTRODUCTION 2 THE PROBLEM AND MOTIVATION 4 AIMS OF THE INVESTIGATION 6 OBJECTIVES OF THE INVESTIGATION 6 CONTRIBUTIONS TO KNOWLEDGE 7 MULTIMEDIA COMPOSERS AND ARTISTS THAT HAVE INFLUENCED THE COMPOSITION PORTFOLIO 8 THESIS STRUCTURE 10 2. CONTEXT AND HISTORICAL BACKGROUND 12 COLOUR 12 SOUND 13 ACOUSMATIC SOUND AND ELECTROACOUSTIC MUSIC 14 HISTORICAL DEVELOPMENTS IN VISUAL MUSIC 15 COLOUR ORGANS 18 THOMAS WILFRED AND LUMIA 20 ANIMATED VISUAL MUSIC 22 HAND DRAWN SOUND AND OPTICAL SOUNDTRACKS 23 SONIFICATION 27 SYNAESTHESIA 28 3. PORTFOLIO OVERVIEW AND COMPOSITIONAL STRATEGIES 32 MUSIC COMPOSITION 34 THE AUDIO-VISUAL PRODUCTION WORKFLOW 36 TECHNOLOGY PLATFORMS FOR COMPOSITION 38 Contents v CONSIDERATIONS IN VIDEO PRODUCTION 40 CHROMA-KEYING 42 SYMMETRY IN VIDEO PRODUCTION 43 4. HUE MUSIC 46 COLOUR ANALYSIS AND SOUND MAPPING 46 SCANNING AND FOCUS 51 AUDIO TIMBRE MIXER 52 COMPOSITIONS 54 IMPROVEMENTS ON THE ALGORITHM 55 SUMMARY 55 5. COLOUR MIRROR AND SONI-CHROME 59 VISUAL DEVELOPMENT 59 VISUAL COMPOSITIONAL FORMS 64 ALGORITHMIC SOUND DESIGN FOR COLOUR MIRROR 64 SONI-CHROME MUSICAL COMPOSITION 69 A CRITIQUE OF ALGORITHMIC VERSUS TRADITIONAL COMPOSITION TECHNIQUES IN THESE PIECES 69 6.
    [Show full text]
  • CD 2019-2020 Songs Without Words I & II
    CD 2019-2020 CORELLI, Arcangelo VON DER GOLTZ, Gottfried MUSIQUE CLASSIQUE FREIBURG BAROCKORCHESTER Concerti grossi BACH, Carl-Philipp-Emanuel Sinfonia Santa Beatrice d'Este QUEYRAS, Jean-Guilhen MINASI, Riccardo/ENSEMBLE RESONANZ Concertos pour violoncelle DUBOIS, Théodore Symphonie H.648 TURBAN, Ingolf / KUEN, Lukas Mari GRUNEIS, Raoul DEUTSCHE RADIO PHILHARMONIE SAARBRUCKEN KAISERLAUTERN BACH, Johann-Sébastien Concerto et sonate pour violon OLAFSSON, Vikingur Johann Sebastian Bach FRANCK, César SEVERUS, Julia Early piano music BACH, Johann-Sébastien GALLIANO, Richard Richard Galliano Bach GLASS, Philip MAISONHAUTE, Antoine / TANA QUARTET Seven string quartets BEETHOVEN, Ludwig Von TRIO CHAUSSON Trio l'Archiduc - Trio les Esprits HAKENBERGER, Andreas DOLCI, Daniela LUKASZEWSKI, Jan POLSKI CHOR KAMERALNY/MUSIC BEETHOVEN, Ludwig Von FIORITA KUBELIK, Rafael 55 Motets from the Pelplin tablature WIENER PHILHARMONIKER Symphonies n°6, 7 et 8 HAYDN, Franz Joseph BEZUIDENHOUT, Kristian BEETHOVEN, Ludwig Von Sonates pour piano Hob.XVI:6; 20 et 48 OZAWA, Seiji MITO CHAMBER ORCHESTRA Beethoven 9 CHOSTAKOVITCH, Dmitri RUNGE, Eckart/ARTEMIS QUARTET MENDELSSOHN String quartes 5 & 7 - Piano quintet BARTHOLDY, Félix NAGY, Peter Songs without words I & II COUPERIN, François CUILLER, Bertrand Couperin l'alchimiste, un petit théâtre du monde MILHAUD, Darius BERNSTEIN, Leonard ORCHESTRE NATIONAL DE FRANCE La création du monde, le boeuf sur le toit, COUPERIN, Louis Saudades do Brasil SPIETH, Noëlle Suites pour clavecin OAKLEY, George O'CONNELL, Naomi Louisa
    [Show full text]
  • Interfaces for Musical Expression Based on Simulated Physical Models
    Interfaces for Musical Expression Based on Simulated Physical Models Andrew Johnston University of Technology, Sydney Submitted to the Faculty of Engineering and Information Technology in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy 2009 Certificate of Authorship / Originality I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Andrew Johnston October 2009 Contents Contents i Acknowledgements xi Abstract xiii 1 Introduction 1 1.1 Introduction . .2 1.2 Background . .2 1.3 What is a Virtual Instrument? . .3 1.4 Musical Expression and Exploration . .4 1.5 Significance of the Research . .6 1.6 Structure of the Thesis . .7 2 Literature Review 9 2.1 Introduction . 10 2.2 Design Criteria . 10 2.2.1 Ease of Use and Expressive Potential . 10 2.2.2 Intimacy and transparency . 12 2.2.3 Predictability and Consistency . 16 2.2.4 Diversity . 17 2.2.5 Personality . 19 2.2.6 Notes in time vs. timbre / Micro vs. Macro level operations . 20 2.3 Mapping . 21 2.3.1 Limitations of Mapping . 23 2.3.2 Instrumental Gestures . 24 2.4 Applications of Physical Modelling Techniques in Music . 26 2.4.1 Physical models in sound synthesis .
    [Show full text]
  • A Telematic Conduction Experiment
    MAD SCIENTIST MACHINE: A TELEMATIC CONDUCTION EXPERIMENT by Stefan Smulovitz B.S. – Biochemistry, University of Washington 1994 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS In the School for the Contemporary Arts © Stefan Smulovitz 2010 SIMON FRASER UNIVERSITY Summer 2010 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. APPROVAL Name: Stefan Smulovitz Degree: Master of Fine Arts Title of Thesis: Mad Scientist Machine: a telematic conduction experiment Examining Committee: Chair: Steven Hill Assistant Professor School for the Contemporary Arts ______________________________________ Owen Underhill Senior Supervisor Professor School for the Contemporary Arts ______________________________________ Barry Truax Supervisor Professor School of Communication ______________________________________ Martin Gotfrit Supervisor Professor School for the Contemporary Arts ______________________________________ Kenneth Newby External Examiner Adjunct Professor – Creative Studies University of British Columbia Kelowna, BC Canada Date Defended/Approved: June 22, 2010 ii Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users.
    [Show full text]
  • Guns N Roses Jonny Greenwood Mt. Joy The
    JOHN COLTRANE THE RECORD COMPANY BULLET FOR MY VALENTINE MT. JOY GUNS N ROSES BOTH DIRECTIONS AT ONCE: THE LOST ALBUM ALL OF THIS LIFE GRAVITY MT. JOY APPETITE FOR DESTRUCTION VERVE LABEL GROUP CONCORD MUSIC SPINEFARM DUALTONE IGA Recorded in 1963, unknown until 2004, and unheard The L.A.-based rock/roots trio of Chris Vos (guitar, lead Gravity finds Bullet For My Valentine rewriting its Steeped in folk-rock tradition and powered by the Right out of the gate Guns N’ Roses’ music was primal until now, the music on Both Sides at Once: The Lost vocals, harmonica), Alex Stiff (bass, guitar, vocals) and own future – finding new ways to invent heavy noise intuitive creative connection between Matt Quinn and gritty, with a solid hard, bluesy base. They were Album represents one of the most influential groups Marc Cazorla (drums, piano, vocals) has already been and remaining unshackled by the legacy that comes (vocals, guitar) and Sam Cooper (guitar), the songs on dark, sleazy, dirty, and honest – everything that good in music history experimenting with a musical style it hailed by LA Weekly for “making bluesy music that with being masters of their trade. The four musicians Mt. Joy’s eponymous debut depicts a place where the hard rock and heavy metal should be. While Slash and had otherwise perfected. The first week of March in would sound more at home in a sweaty, backwoods have stretched their creative wings like never before, mundane and the fantastic collide. Opener “I’m Your Izzy Stradlin ferociously spit out dueling guitar riffs 1963 was busy for John Coltrane – a two-week run Mississippi juke joint,” while Time Out has described delicately balancing film-score electronica and icy Wreck” describes “monsters in [the] closet, using up worthy of Aerosmith or the Stones, Axl Rose screeched at Birdland and was gearing up to record the famed their sound as “reminiscent of some of the best acts synths in their hard rock hellfire.
    [Show full text]
  • 2019 JUNO Award Nominees
    2019 JUNO Award Nominees JUNO FAN CHOICE AWARD (PRESENTED BY TD) Alessia Cara Universal Avril Lavigne BMG*ADA bülow Universal Elijah Woods x Jamie Fine Big Machine/Universal KILLY Secret Sound Club* Independent Loud Luxury Armada Music B.V.*Sony NAV XO*Universal Shawn Mendes Universal The Weeknd The Weeknd XO*Universal Tory Lanez Interscope* Universal SINGLE OF THE YEAR Growing Pains Alessia Cara Universal Not A Love Song bülow Universal Body Loud Luxury Armada Music B.V.*Sony In My Blood Shawn Mendes Universal Pray For Me The Weeknd, Kendrick Lamar Top Dawg Ent*Universal INTERNATIONAL ALBUM OF THE YEAR Camila Camila Cabello Sony Invasion of Privacy Cardi B Atlantic*Warner Red Pill Blues Maroon 5 Universal beerbongs & bentleys Post Malone Universal ASTROWORLD Travis Scott Sony ALBUM OF THE YEAR (SPONSORED BY MUSIC CANADA) Darlène Hubert Lenoir Simone*Select These Are The Days Jann Arden Universal Shawn Mendes Shawn Mendes Universal My Dear Melancholy, The Weeknd The Weeknd XO*Universal Outsider Three Days Grace RCA*Sony ARTIST OF THE YEAR (PRESENTED WITH APPLE MUSIC) Alessia Cara Universal Michael Bublé Warner Shawn Mendes Universal The Weeknd The Weeknd XO*Universal Tory Lanez Interscope*Universal GROUP OF THE YEAR (PRESENTED WITH APPLE MUSIC) Arkells Arkells*Universal Chromeo Last Gang*eOne Metric Metric Music*Universal The Sheepdogs Warner Three Days Grace RCA*Sony January 29, 2019 Page 1 of 7 2019 JUNO Award Nominees BREAKTHROUGH ARTIST OF THE YEAR (SPONSORED BY FACTOR, THE GOVERNMENT OF CANADA AND CANADA'S PRIVATE RADIO BROADCASTERS)
    [Show full text]