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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 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 .................................................................................................................... 250 AV1.1 Bonang Study .................................................................................................................................... 250 AV1.2 Tenuous Links ................................................................................................................................... 250 AV1.3 Monggangan (development session) ..................................................................................... 250 AV1.4 Augmented Gamelan (concert set) ........................................................................................... 251 AV1.5 Untitled (Response to ShoutCry Room) ................................................................................... 251 AV2 Additional recordings ............................................................................................................ 252 AV2.1 Untitled York workshop .............................................................................................................. 252 AV2.2 Bonang Study (group version) .................................................................................................. 252 AV2.3 Sunday (solo development) ........................................................................................................ 253 AV2.4 Planet Harmonics sketches ......................................................................................................... 253 AV2.5 Srikaton ............................................................................................................................................... 253 AV2.6 Augmented Gamelan (studio version) .................................................................................... 254 AV2.7 Ketawang Subakastawa ..............................................................................................................
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