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Text File | 1998-10-26 | 2.1 KB | 51 lines | [TEXT/ScoM] |
- * Inventions *
-
- - for solo keyboard
-
- - Nigel Morgan
-
- These six inventions represent composition experiments with
- Symbolic Composer. Each piece integrates a particular musical
- objective with the exploration of S-COM language constructs.
-
- Invention I - in three distinct sections, a group of music
- gestures are generated and processed whilst being co-ordinated
- via Timesheet scores; each gesture and its process acting like a
- separate instrument. The music makes considerable use of the
- Neural Expert to guide processing using defined rules and
- constraints.
-
- Invention 2 - has its tonality and pitch series generated from
- the hopalong algorithm - a close relative of the Mandlebrot
- fractal. It is the most 'invention-like' of the series.
-
- Invention 3 - is generated from a symbolic conversion of samples
- of white noise. This material is overlayed on the tonality of C
- major. Using custom-built ornament processors three statements
- of the material are treated in different ways following Neural
- Expert 'rules' . These rules look at note coincidence and
- relationships and trigger variants, in this case distinct
- appoggiatura-like ornaments, both diatonic and chromatic.
-
- Invention 4 - is another Timesheet-based composition employing
- five separate 'lines' of music material. Some of this is
- metrical and divisive, some is more gestural and 'free' resulting
- from conversions made by white-noise generation. Thus, the
- music has a special mix of rhythmic movement.
-
- Invention 5 - is a realisation of a poem 'Landscape' by Margaret
- Melicharova. This text is used directly as symbol material. The
- tonality and note-length material occupies the world of
- Keith Jarrett and New Age piano stylists.
-
- Invention 6 - takes as its starting point a chord sequence
- 'found' at the piano and directly transformed into a series of
- individual tonalities. These tonalites are then organised into a
- Library Manager file and triggered via the template-controlled
- mechanism unique to S-COM. The chord sequence is heard directly
- in a prime number duration sequence as a refrain between
- arpeggiated variants. There are 2 variants shown in the source-files
- demonstrating different approaches to template control.
-
-
-