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Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance

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Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Matthews, Charles Michael (2014) Adapting and applying central Javanese gamelan music theory in electroacoustic composition and performance. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/14415/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. See also repository copyright: re-use policy: http://eprints.mdx.ac.uk/policies.html#copy Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance Part II of II: Appendices Thesis submitted in partial fulfilment of requirements for the degree of Ph. D. Charles Michael Matthews School of Arts Middlesex University May 2014 Table of contents – part II Table of figures ....................................................................................................................... 121 Table of tables ......................................................................................................................... 124 Appendix 1: Composition process and framework development ..................... 125 1.1 Framework .............................................................................................................................. 126 1.2 Aesthetic development ........................................................................................................ 127 1.3 Idiomatic reference .............................................................................................................. 128 1.3.1 Electroacoustic music references .......................................................................................... 129 1.3.2 Musical time .................................................................................................................................... 130 1.3.3 Electronic cengkok and envelopes ........................................................................................ 132 1.4 Instruments and interfaces ............................................................................................... 135 1.4.1 Transducers .................................................................................................................................... 135 1.4.2 Clocks ................................................................................................................................................. 137 1.5 Conclusion ................................................................................................................................ 138 Appendix 2: Software and electronic garap .............................................................. 140 2.1 Development process .......................................................................................................... 140 2.2 Software outline ..................................................................................................................... 143 2.2.1 Input ................................................................................................................................................... 144 2.2.2 Clocks and scrubbing .................................................................................................................. 146 2.2.3 Storage .............................................................................................................................................. 148 2.3 Electronic garap ..................................................................................................................... 150 2.3.1 Part selection in Bonangan ....................................................................................................... 150 2.3.2 Part selection in Cengkokan and Mipilan ............................................................................ 151 2.4 Note events, electronic cengkok and envelopes ........................................................ 153 2.4.1 Note events in Bonangan ........................................................................................................... 153 2.4.2 Envelope cengkok in Bonangan .............................................................................................. 155 2.4.3 Note events in Cengkokan and Mipilan ................................................................................ 158 2.4.4 Basic envelope cengkok in Cengkokan and Mipilan ....................................................... 160 2.4.5 Named envelope cengkok in Cengkokan and Mipilan .................................................... 163 2.4.6 Crossfade channels in Cengkokan and Mipilan ................................................................. 164 2.5 Additional software .............................................................................................................. 165 2.6 Conclusion and further development ............................................................................ 166 Appendix 3: Compositions and arrangements ......................................................... 168 3.1 Bonang Study (2011, AV1) .................................................................................................. 168 3.1.1 Description ...................................................................................................................................... 168 118 3.1.2 Development process and technical notes ......................................................................... 171 3.1.3 Discussion and analysis ............................................................................................................. 175 3.2 Tenuous Links (2011, AV2) ................................................................................................. 182 3.2.1 Description ...................................................................................................................................... 183 3.2.2 Development process and technical notes ......................................................................... 184 3.2.3 Discussion and analysis ............................................................................................................. 188 3.3 Monggangan (2012, AV3) ................................................................................................... 193 3.3.1 Description ...................................................................................................................................... 193 3.3.2 Development process and technical notes ......................................................................... 196 3.3.3 Discussion and Analysis ............................................................................................................. 205 3.4 Augmented Gamelan (2012, AV4) .................................................................................... 214 3.4.1 Description ...................................................................................................................................... 214 3.4.2 Development process and technical notes ......................................................................... 219 3.4.3 Development of individual pieces ......................................................................................... 224 3.4.4 Discussion and analysis ............................................................................................................. 229 3.5 Response to ShoutCry Room (2012, AV5) ...................................................................... 240 3.5.1 Description ...................................................................................................................................... 240 3.5.2 Development process and technical notes ......................................................................... 242 3.5.3 Discussion and analysis ............................................................................................................. 244 Appendix 4: Digital portfolio .......................................................................................... 250 AV1 Main audio/video ...................................................................................................................
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