Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure of compositional technique, mathematical analysis of relevant tuning systems, spectrum analysis of recordings, and face-to-face discussions with relevant key figures. THE UNIVERSITY OF MELBOURNE Faculty of Music TO WHOM IT MAY CONCERN This is to certify that (i) the thesis comprises only my original work towards the PhD except where indicated in the Preface*, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is less than 80,000 words in length, exclusive of tables, maps, bibliographies and appendices or the thesis is [number of words] as approved by the RHD Committee. Signature: Name in Full: Andrián Pertout Date: 2 March, 2007 Dedicated to my father, the late Aleksander Herman Pertout (b. Slovenia, 1926; d. Australia, 2000) Acknowledgements A special thanks to the supervisors: Professor Brenton Broadstock (Coordinator of Composition, Faculty of Music, University of Melbourne) and Associate Professor Neil McLachlan (School of Behavioural Science, Faculty of Medicine, Dentistry and Health Sciences, University of Melbourne). Brenton Broadstock should be especially thanked for being an inspirational force not only during the last four years of the PhD candidature, but throughout the last ten years of my composition studies at the University of Melbourne. His encouragement, support, and direction have exceeded well beyond his duties as supervisor and composition teacher, and consequently remain forever grateful. Professor Andrew Schultz (Dean of the Faculty of Creative Arts, University of Wollongong, NSW, Australia) also deserving a mention with regards to L’assaut sur la raison for Symphony Orchestra (2003) and Bénédiction d’un conquérant for Symphony Orchestra (2004), which were especially composed for ACOF 2003 and 2004 (Australian Composers’ Orchestral Forum – Composition workshops with Brenton Broadstock, Andrew Schultz, and the Tasmanian Symphony Orchestra). A special thanks also to Dr. Julian Yu who was the official mentor for the 2003 and 2004 ACOF project. A special thanks to the following people for their direct assistance to the composition folio: Stephen Adams (Presenter, ABC Classic FM) for producing an excellent program featuring La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte (2003-2004) on his ABC Classic FM radio program. Susan Batten (Presenter, 3MBS FM) for producing two excellent programs featuring L’assaut sur la raison for Symphony Orchestra (2003), Navigating the Labyrinth for String Orchestra (2002), and Aristotle’s Rhetoric, Suite for Orchestra (2001-02, Rev. 2005) – together with an interview with the composer – on her 3MBS FM Radio ‘Music in Melbourne’ program, in celebration of the Betty Amsden Award – 2005 3MBS FM National Composer Awards. APRA (Australasian Performing Right Association) for recognizing L’assaut sur la raison for Symphony Orchestra (2003) with the APRA Encouragement Award – 2004 3MBS FM National Composer Awards. ÷××× Acknowledgements Andrew Blackburn (Artistic Director, 2007 Melbourne Town Hall Organ Project), Jean Penny and the Melbourne City Council for commissioning Symétrie intégrante for Flute, Organ and Electronics (2005-06) for the upcoming 2007 Melbourne Town Hall Organ Project, Melbourne, Australia. Enmanuel Blanco (Executive Director, Festival Internacional de Música Electroacústica) for selecting Exposiciones for Sampled Microtonal Schoenhut Toy Piano (2005) to be performed at the XI Festival Internacional de Música Electroacústica ‘Primavera en la Habana’ 2006, 6-12 March, 2006, Habana, Cuba. Associate Professor Jack Body (Artistic Director, 2007 Asia Pacific Festival, 26th Asian Composers League Festival & Conference, and Associate Professor of Composition, New Zealand School of Music, Victoria University, Wellington, New Zealand) and the festival organizers for selecting Àzàdeh for Santär and Tape (2004, Rev. 2005) to be performed at the 2007 Asia Pacific Festival (26th Asian Composers League Festival & Conference), 8-16 February, 2007, Wellington, New Zealand. Also, for selecting the conference paper Theory Versus Performance Practice: Àzàdeh for Santär and Tape to be presented at the 2007 Asia Pacific Festival ‘Tradition/Transformation’ Conference. Warren Burt (Wollongong, NSW, Australia) for his generous support and contribution to the direction of the PhD research, and especially with regards to Exposiciones for Sampled Microtonal Schoenhut Toy Piano (2005). Ao Changqun (Organizing Committee Chairman, 2005 Second Sun River Student New Composition Competition, and President, Sichuan Conservatory of Music, Chengdu, People’s Republic of China) for recognizing La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte (2003-04) with the Third Prize in the 2005 Second Sun River Student New Composition Competition (Chengdu, People’s Republic of China). Phyllis Chen for requesting a Toy Piano and Tape arrangement of Exposiciones for Sampled Microtonal Schoenhut Toy Piano (2005), and for her incredible talent, evident in her virtuosic interpretations of the work in Bloomington, Indiana and Chicago, Illinois, USA, as well as at the 2007 International Gaudeamus Interpreters Competition & Chamber Music Week in Amsterdam, The Netherlands. David Claman (Assistant Professor, Music Department, College of the Holy Cross, Worcester, Massachusetts, USA) and Matt Malsky (Associate Professor of Music, Department of Visual and Performing Arts, Clark University, Worcester, Massachusetts, USA) for selecting Exposiciones for Sampled Microtonal Schoenhut Toy Piano (2005) to be part of the Extensible Toy Piano Project, 5-6 November, 2005, Department of Visual and Performing Arts, Clark University, Worcester, Massachusetts, USA; and the Acknowledgements ×Ø Extensible Toy Piano Festival, 4 March, 2007, Performing Arts Center, Department of Music, State University of New York, Albany, New York, USA. Barry Cockroft (tenor saxophone) and Adam Pinto (pianoforte) for commissioning and performing Digressioni modali for Tenor Saxophone and Pianoforte (2003) at the Melbourne International Festival of Single Reeds, 26-29 March, 2005, Victorian College of the Arts, Southbank, Melbourne, Australia. Also, for recording the work for the ‘rompduo’ Crazy Logic CD release. Barry Cockroft (tenor saxophone) and Marc Ryser (pianoforte) for performing the work at The Banff Centre, Banff, Alberta, Canada, and finally Barry Cockroft (Reed Music) for publishing the work with Reed Music. Professor Barry Conyngham (former Emeritus Professor of the University of Wollongong and Southern Cross University, Lismore, NSW, Australia) for his compositional direction during his residency at the University of Melbourne in 2005. David Collins (Technical Officer, Faculty of Music, University of Melbourne) for technical assistance throughout the PhD candidature, as well as invaluable advice with regards to sound diffusion concepts. David B. Doty (Author of The Just Intonation Primer, Founder of the Just Intonation Network, and Editor of the Network’s Journal, 1/1, San Francisco, California, USA) for making time for me during my 2004 visit to San Francisco, California, USA, and for his compositional guidance with regards to just intonation concepts. Ensamble Contemporáneo (Aliocha Solovera [artistic director], Cristián Gonzáles [flute], Dante Burotto [bass clarinet], Alexandros Jusakos [pianoforte], Davor Miric [violin], and Celso López [violoncello]) for performing La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte (2003-04) at the XV Festival de Música Contemporánea Chilena (15th Chilean Festival of Contemporary Music), 21-27 November, 2003, Santiago, Chile. Ivano Ercole (Presenter, Rete Italia) for producing an excellent program featuring L’assaut sur la raison for Symphony Orchestra (2003), Navigating the Labyrinth for String Orchestra (2002), Gèrëémeler for Amplified Èrhú, Sampled Harmonium, Cajón and Bombo (2001), Bénédiction d’un conquérant for Symphony Orchestra (2004),