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INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Accessing the World'sUMI Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 8824447 Part I. Using a digital soundfile mixing program as a compositional tool. Part II. "Extensions” for concert band and tape. [Original composition] Yocom, Neal Wesley, D.M.A. The Ohio State University, 1988 Copyright ©1988 by Yocom, Neal Wesley. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V . 1. Glossy photographs or pages ______ 2. Colored illustrations, paper or print ______ 3. Photographs with dark background _____ 4. Illustrations are poor copy ______ 5. Pages with black marks, not original copy ______ 6. Print shows through as there is text on both sides of page _______ 7. Indistinct, broken or small print on several pages ^ 8. Print exceeds margin requirements ______ 9. Tightly bound copy with print lost in spine _______ 10. Computer printout pages with indistinct print _______ 11. P age(s)____________ lacking when material received, and not available from school or author. 12. P age(s)____________ seem to be missing in numbering only as text follows. 13. Two pages num bered . Text follows. 14. Curling and wrinkled p ag es ______ 15. Dissertation contains pages with print at a slant, filmed as received __________ 16. O t h e r _________ _____________________________ UMI Part I: USING A DIGITAL SOUNDFILE MIXING PROGRAM AS A COMPOSITIONAL TOOL P art II: EXTENSIONS for Concert Band and Tape D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Neal Wesley Yocom, B.M.E, M.A. oo oooooooooooooooooo The Ohio State University 1988 Dissertation Committee: Dr. David Butler Approved by Dr. Gregory Proctor Dr. Thomas Wells, Adviser Dr. Thomas Wells School of Music Copyright by Neal Wesley Yocom 1988 for my wife ii ACKNOWLEDGMENTS Thanks are due to many colleagues and friends who have supported my work, in particular Rocky and Judy Reuter and Chris Chater. Special thanks are certainly due to two persons at IRCAM who helped me greatly, David Wessel and Marco Stroppa. Without the assistance of Marc Battier, Jan Vandenheede, Denis Lorrain, Thierry Lancino, and the others at IRCAM who assisted me with my research, the results of this investigation would not have been nearly as well grounded in practice. I would like to thank the members of my dissertation committee, Dr. David Butler and Dr. Gregory Proctor, for their personal interest and assistance, and for their exemplary instruction over the past years. My adviser, Dr. Thomas Wells, has given vital encouragement to my work, insight into the craft of musical composition, and a new appreciation of the music of the masters. I am glad to have had the opportunity to study and work with a musician and composer of his stature. My wife, Judy, has provided continuous positive support during the research and preparation of this document, without which its completion would not have been imaginable. VITA Oct. 3, 1946 ................................................................... Bom: Bryan, Ohio 1968 ...................................................................... B.M.E., Music Education: Baldwin-Wallace College 1968-72 ............................................................Teacher, Instrumental Music: Mulligan Jr. High School, Central Islip, New York 1973-7 4 Director of Bands: Hauppauge High School, Hauppauge, New York 1974 .............................................................................................M.A., Music: C.W. Post College, Long Island University Greenvale, New York 1974-7 9 ..................................... Instrumental, Choral, Classroom Music: The Frankfurt International School, e. V., Oberursel, West Germany 1979-82 ............................................................ Instrumental Music Director: American School of Paris, 92210 St. Cloud, France 1982-85.........................................Graduate Teaching/Research Associate: School of Music, The Ohio State University, Columbus, Ohio 1985-198 8 ..................................................... Research in Computer Music: Institut de Recherche et Coordination Acoustique/Musique (IRCAM), Paris, France 1986-198 8 ........................................................ Instrumental Music Director: American School of Paris, 92210 St. Cloud, France TABLE OF CONTENTS Page VITA ........................................................................................................................................ iv LIST OF TABLES.................................................................................................................. viii LIST OF FIGURES............................................................................................................... ix ABSTRACT.............................................................................................................................. x PART I: USING A DIGITAL SOUNDFILE MIXING PROGRAM AS A COMPOSITIONAL DEVICE CHAPTER I. Introduction to Mix-Oriented Composition ............................................. 1 Basic Assumptions .................................................................................................... 3 Definition of Term s .................................................................................................... 4 Limits of the S tudy .................................................................................................... 6 II. The Digital Audio Environment ................................................................... 7 Introduction ................................................................................................................ 7 Random-Access Editing of Digital Audio ............................................................. 9 The IRCAM Setting ................................................................................................... 16 Sum m ary.....................................................................................................................20 v CHAPTER III. The Mix-Oriented Compositional Environment .................................... 21 Introduction ................................................................................................................ 21 Physical Components of the Environment ............................................................21 Software Components of the Environment ................................................. 26 The IRCAM Mix Program .......................................................................................33 U sing M ix ...............................................................................................................34 Inside Mix: Design Features of the Program ........................................................37 Using Mix as a Soundfile Manipulation T ool ........................................................39 Command File Generation .......................................................................................41 Creating and Altering Mixscores via Awk ................................................... 41 LISP and C Programs .............................................................................................. 44 M acM ix ....................................................................................................................... 45 Unusual Applications of M ix ....................................................................................45 Some Technical Considerations ............................................................................... 46 Summary......................................................................................................................49 IV. Using Mix as a Compositional Tool: Small-Scale Techniques... 50 Introduction ................................................................................................................50 Composition via M ixing ........................................................................................... 50 Small-Scale Compositional Mixing Techniques: ................................................... 51 Splicing ...............................................................................................................
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