3D-COMPOSER: A SOFTWARE FOR MICRO-COMPOSITION Ivan Zavada A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music The University of Sydney 2009 Statement of originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed:....................................................................................... Date:......................................................................................... ii Abstract The aim of this compositional research project is to find new paradigms of expression and rep- resentation of musical information, supported by technology. This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical in- formation within a multi-dimensional environment. The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework. The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical cre- ation. The author establishes theoretical ramifications and suggests a definition for micro-composition. The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musi- cal structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formali- sation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression. KEYWORDS: music, computer, electronic, electroacoustic, composition, micro-composition, geometry, visualisation, 3D, software. iii Acknowledgements My family in Australia, Canada and Ukraine has remained an invaluable source of support for my artistic and academic endeavours. I am most grateful to my wife Myroslava for her optimism, patience and support. I particularly treasure the joyful company of our one year old son Adrian... especially dur- ing the short nights of the thesis dissertation phase. I would like to thank my mother, Dr. Claudette Berthiaume for her inspirational and precious advice, my father Yuri Zawada for his unconditional encouragement and my brother Roman for his musicality, which inspires me to explore the boundaries of creativity. I am thankful for my grand-mother’s apprecia- tion and encouragement during the long periods of reflection and concentration, even though this musical venture may locate itself at the far edge of her beloved operas! My sincerest thanks to my supervisor Dr Anthony Hood, and associate-supervisor Dr Michael Smetanin for their quintessential recommendations during this project. To my late grand-parents Lucette Leclerc, Edouard Berthiaume and Dr. Ivan Zawada. iv Contents Statement of originality ii Abstract iii Acknowledgements iv List of Figures viii List of Tables ix Chapter 1 Introduction 1 1.1 General aims and background. 1 1.2 Description of analytical notes and portfolio. 2 Chapter 2 Confluence of techné and musical thought 4 2.1 Context............................................................................ 4 2.1.1 Emergence of a methodology. 7 2.2 A historical platform for innovation . 8 2.2.1 Deconstruction of a system. 10 2.2.2 Towards technological integration . 11 2.2.3 Composers and machines . 12 2.2.4 Technological rate of change . 13 2.3 Theoretical approach . 15 2.3.1 Innovation. 16 2.3.2 Representation . 18 2.3.3 Communication . 20 2.3.4 Summary of definitions . 21 Chapter 3 Geometric properties of micro-composition 22 3.1 Introduction. 22 v Contents vi 3.1.1 Establishing a conceptual framework for the compositional process . 23 3.1.2 The notion of space . 25 3.1.3 Taxonomy of space. 26 3.1.4 New trends for innovation. 28 3.2 Representing music with geometry . 28 3.2.1 Projective geometry . 29 3.2.2 Elements of micro-composition. 32 3.2.3 Motivic abstraction. 33 3.2.4 Visual representation of musical concepts . 35 3.3 Software: 3D-Composer . 38 3.3.1 Defining micro-composition . 38 3.3.2 User interface. 42 3.3.3 Graph theoretical approach. 50 3.3.4 Musical applications and electroacoustic considerations. 53 Chapter 4 Composition portfolio 57 4.1 Six electroacoustic studies. 57 4.1.1 Study No.1 . 57 4.1.2 Study No.2 . 58 4.1.3 Study No.3 . 59 4.1.4 Study No.4 . 59 4.1.5 Study No.5 . 60 4.1.6 Study No.6 . 61 4.2 Electroacoustic composition: Dada 2009 ............................................. 61 4.3 System requirements. 63 Chapter 5 Conclusion 66 5.1 Future directions . 66 5.2 Concluding remarks . 67 Bibliography 69 Appendix A 77 A.1 Python script for 3D rotation of micro-composition. 77 Contents vii Appendix B 85 B.1 Listing of possible configurations for selected directed graphs. 85 Appendix C 91 C.1 A topography of the interdisciplinary nature of music technology. 91 Appendix D 93 D.1 Development of electronic music in Ukraine: emergence of a research methodology . 93 Appendix E 108 E.1 3D-Composer Software Instructions - Read Me file . 108 Appendix F 112 F.1 JazzMutant Lemur multi-touch control set up. 112 Appendix G 113 G.1 Installer CD: 3D-Composer Software Installer - CD No. 1 . 113 G.1.1 3D-Composer Installer.dmg . 113 G.1.2 Python-2.5-macosx.dmg . 113 G.1.3 ReadMe.pdf. 113 Appendix H 114 H.1 Audio CD Tracks: Composition Portfolio - CD No.2 . 114 H.1.1 Six Electroacoustic Studies . 114 H.1.2 Electroacoustic Composition . 114 List of Figures 2.1 Organigram of derived musical activities related to music technology. 14 2.2 Manifestation of compositional activity. 17 2.3 Classical model of communication (Shannon and Weaver.