Wesleyan University AGAINST CONTEXT: HYBRIDITY AS A MEANS TO REDUCE ITS IMPACT.

Transcription

1 Wesleyan University AGAINST CONTEXT: HYBRIDITY AS A MEANS TO REDUCE ITS IMPACT. By Tomasz Arnold Faculty Advisor: Ronald J Kuivila Readers: Paula Matthusen and Kate Galloway A Thesis submitted to Faculty o Wesleyan University in partial ulillment o the requirements or the degree o Master o Arts in Music Middletown, Connecticut May 2017

2 Acknowledgments. I'd like to sincerely thank the ollowing people: My teachers: Ron Kuivila Paula Matthusen Jin Hi Kim Liz Phillips Elliot Sharp Noah Baerman Barbara Merjan David Nelson Kate Galloway Robert Morris My riends and colleagues: Omar Fraire Lucero Alonso Warren Enström Hallie Blejewski Jordan Dykstra Matt Wellins Andrew Colwell Wan Yeung Dave Scanlon My amily: Artur Arnold Maria Arnold Jadwiga Arnold Ryszard Arnold i

3 Contents Introduction Chapter 1: Understanding Musical Hybridity: Context and perception Genre and the production o meaning Appropriation and exchange with the example o Robert Morris' Rapport Chapter 2: Exploring Musical Hybridity: Village o Control The analysis o cross-cultural reerences, and the impact o ignorance on the ailure o the realization o musical Utopia Cause there is no one like us and Scatter in the Sky: Guilty Pleasure Sel-Portraits The Conclusion with J.S. Bach Reerences Appendix ii

4 Introduction. How does our background inluence the way we listen to music? What aspects o musical presentation shape musical perception? Can we perceive and compose sound ree rom the presupposed context that we operate within? Can we reduce the inluence context has on an audience? Can we hybridize genres without the issues o miscommunication o musical meaning? I yes, what are successul ways o communicating this meaning? These are the questions that oten arise in my work as a composer-perormer, both when I compose music and when I think o how to program it with the work o others that I perorm. My musical interests have always been multi-directional, which resulted in exposure to a variety o inluences, modes o musical thought, and perormance practices. As a result, while both composition and perormance are essential parts o my musical identity I have gravitated towards exploring dierent means o musical expression rather than subscribing to one style. Consequently, the two issues I ace in my work are: how can I combine my varied inluences in a meaningul way and what is the most eective way o presenting these combinations to the audience? At the same time I hope to keep my identity as a composerperormer intact and non-compromised. These questions have led to my interest in appropriation and stylistic juxtaposition and a tendency towards hybridity within pieces and larger concert programs. I employ appropriation as a means to connect my own musical language with musical traditions, styles and cultures that I enjoy as a listener but haven't explored or internalized as a composer or perormer. While close to my identity as a listener these interests can be ar rom my identity as a perormer or composer. Thus, through this engagement with unamiliar musical cultures, 1

5 I can slowly gain the knowledge and musical understanding that allows them to become parts o my active musical identity. I have ound juxtaposition to be useul in means o exploring my varied interests in my own work in composition and perormance. I had concerns that i I enjoy perorming Baroque and Renaissance music on solo marimba, I should probably separate those perormances rom when I want to improvise a drum-set piece or present a newly composed chamber work. I I want to play jazz, pop or techno, I should probably keep that separate rom the seriousness o my art music pieces, or my presentations o established works o Western classical music. I should ind separate venues and audiences or each o the projects I had in mind that would each explore one source o inspiration without running into a danger o having them cross paths with each other. However, it occurred to me ater a while that i I don't have a problem with this combination o inluences should others? This realization was the impetus or the idea o Hybrid Recitals that I started to organize in The Hybrid Recitals juxtapose my works in dierent styles and genres with improvisation and transcriptions o classical Western music compositions rom dierent periods. The recitals are solo perormances with occasional inclusion o other musicians and/or ixed media. The irst recital, entitled Hybrid Recital no. 1, was presented at Wesleyan University in May 2016 and included my electronic music pieces Micro Symphony, Birds and Signiicant Silence juxtaposed with works o J.S. Bach, Mark Applebaum, Ralph Towner, and Snatches o Memory (a piece I did in collaboration with my ather). The second recital was entitled Happy Hybrid and included two semi-improvised works o mine or drum-set and electronics (Cause there is no one like us and Scatter in the Sky), a chamber work o mine that involved non-western instrumentation (Village o Control), an electronic composition by 2

6 Robert Morris entitled Rapport, and Bach's E-minor lute suite transcribed or marmba. The third recital o the series Hybrid #3 Dance and Noise included three pieces o mine: Dance and Noise a piece or Cajon and electronics combining elements o noise with IDM (Intelligent Dance Music), Intermission Music an IDM/Drum 'n' Bass track that was played during the intermission o the concert, One o These Days a Jazz/Funk tune. The concert also involved transcriptions o lute music o John Dowland and harpsichord sonatas by Scarlatti, a study ater Sam Pluta's piece Switches, and John Cage's Child o Tree. It is important to mention that while juxtaposition is clearly a prominent element o the Hybrid Recitals, they are not ocused on the sharp contrasts that can result rom these juxtapositions. The Hybrid Recitals are about achieving musical hybridity through these sets o juxtapositions that I attempt to connect with each other in meaningul ways. I'm interested in keeping the identity o each musical work intact, and connecting them with one another into larger structures using my identity as a perormer as the glue. In a way this idea o connection is similar to the work o DJs. The hybridity achieved by transitioning the juxtaposed works is my attempt to reduce the impact o cultural connotations these works carry and achieve listening experience based on purely sonic and kinesthetic elements o the music. The Hybrid Recitals present one way I think about hybridity. However, many my pieces included in these programs are hybrids within themselves. They explore varieties o issues I ace with my diverse musical interests. Some o them, such as Village o Control explore the concept o hybridity in terms o the cross-cultural exchange and appropriation. Others like Cause there is no one like us or Scatter in the Sky tackle on the problem o hybridity within the taboo genres that musically educated people oten call guilty 3

7 pleasures. Others simply hybridize works o established artists that I admire. For example, my multimedia piece Birds appropriates ootage and sound rom Alred Hitchcock's The Birds. Most o the works, however, are about connecting musical identities with each other rather than orging oreign musical elements into a new identity like in the case o works such as Steve Reich's Drumming or Jon Hassell's Forth World. In the irst chapter o this thesis I discuss the issues o musical context, perception, genre, and appropriation in the context o scholarly and musical work o others. Analyzing these issues, even though they are extremely broad and cannot be ully discussed in a short MA thesis, helped me understand how my hybridized works might be perceived by others, what kind o controversies or misunderstandings they could possibly trigger, and what kind o aective response they might provoke. In the second chapter I analyze the three o my pieces that were presented in Happy Hybrid, and investigate how I addressed these problems in my own work. I present in detail the sources and inspirations or Village o Control, Cause there is no one like us, and Scatter in the Sky as well as my interactions with the musicians involved in them, and the dilemmas that arose during the compositional process or in perormance. In the appendix 1 I include scores and documentation o the works I discussed in the thesis, and programs or all o the Hybrid Recitals. In the appendix 2 I include scores and explanations or the other works that I have composed during my two-years in the Wesleyan University's graduate composition program. 4

8 Chapter 1: Understanding Musical Hybridity. Context and perception. To think about hybridity and juxtaposition as means to reduce contextual inluence, I ound it helpul to briely consider how people perceive music and sound in general. The main issue here is how that perception is shaped by the context o where the sounds appear or what their origins appear to be. Some o the questions that made me pursue this topic are as ollows: Is it possible to perceive music purely sonically and kinesthetically without the inluence o social and cultural context? Is it possible to achieve genre hybridity using appropriation o existing musical materials as a compositional technique without it becoming exploitation? Can I think o musical appropriation in terms o a pursuit o sonic interest without any correlations to the cultural context connected with the subject? Does sonic interest itsel carry a cultural context? Can juxtaposition be used to reduce the impact o cultural context by means o blending multiplicities? Or does juxtaposition lose its impact in the ace o the constant stream o juxtapositions in recorded music? Or is it ultimately just a creation and design o a new context? 5 The issue o perception has been widely discussed. Andrew Hill unpacks this

9 problem in relation to context-based composition 1 in his article Listening or Context: Interpretation, abstraction and the real. He constitutes context-based composition as being shaped by real-world sonic events that reer to something extra musical that exists outside o the sound itsel. Further, he argues that those real-world sonic events do not possess a ixed, invariable nature but rather they are always shaped by an interpretation that is inluenced by an individual's cultural background and past experiences. 2 Coming rom this argument, sounds cannot be perceived as universal, ixed entities but their perception will always be shaped by one's own history o listening. The variability o perception is not shaped solely by one's background but also by the relationship o an individual to the sound that is produced at the given moment. In principle, the producer o the sound (whether a perormer or a composer o ixed media electronic music) possesses all o the inormation on its source, purpose, date, place, application and such that went into its creation. Consequently, their experience is shaped by all o this background inormation. On the other hand, the individual that perceives the sound without any previously established knowledge has to rely on his/her imagination to iner the context that can inluence their perception. 3 There are many aspects o what could potentially create a common or disjunctive perception o a sound event in a group o people. However, Hill argues that in almost any case a shared experience has to involve the sharing o a speciic set o experiences that would 1 Andrew Hill explains context-based composition with a quote rom Truax, Barry. Soundscape Composition as Context-based Creation. Organized Sound 22.1 (2017): 1-3: Context-based practice can, among other approaches, range rom soniications, phonographic uses o ield recordings, to site-speciic installations, and abstracted soundscape compositions based in real-world or even virtual, imagined spaces. 2 Hill, Andrew. Listening or Context: Interpretation, abstraction and the real. Organized Sound 22.1 (2017): Ibid., 13. 6

10 shape the interpretation within a group o people in a corresponding manner. They do not have to share the speciic context but they do need to share an experience o that context. The commonality can arise either rom a natural, physiological experiences shared among everyone as humans, or rom previously established cultural context that would be dependent on one's background. This is true both with abstract and concrete sounds. 4 The commonality o lived experiences can create a shared context within which a common understanding o sound creation can orm within a group o people. Without that understanding, however, the communication will always be variable, which means that one cannot assume the musical projection o a concept or idea to be understood globally. The shared commonality is also apparent in the contemporary musical practices responding to Asian aesthetics such as the concept o sawari in Japanese music. Sawari has multiple meanings but the one relevant to this discussion is the act o coming into musical contact and understanding with a oreign element. 5 An example o such oreign element could be some kind o environmental sound that one imitates during the perormance (oten with appliance o some kind o noise) to come in contact with the context o the world around them. Takemitsu describes his encounter with such an example through a perormance by a shakuhachi master he dined with in a small Japanese restaurant. Between them was a gas burner with a pot used to cook the Japanese dish called sukiyaki. The master perormed a piece on shakuhachi and explained that his perormance goal was or Takemitsu to be able to hear the shimmering o cooking sukiyaki through the music. 6 The master adapted his sound 4 Ibid., Takemitsu, Toru. Toru Takemisu on Sawari. In Locating East Asia in Western Art Music edited by Yayoi Everett, Frederick Lau, (Middletown, CT: Wesleyan University Press, 2004), Takemitsu, Toru. Toru Takemisu on Sawari. In Locating East Asia in Western Art Music edited by Yayoi Everett, Frederick Lau, (Middletown, CT: Wesleyan University Press, 2004),

11 on shakuhachi in response to the sound o the environment to create a shared experience o the immediate context between himsel and his audience. The discussion o context in the perception o sound does not limit itsel to the consideration o physical sound production but also to the place in which the sound is produced. The place o the perormance, just like the source o the sound can have relevance in the dynamics o the individual or shared understanding o a musical context. The understanding and perception o place seems to be o a highly individual and experiential nature just as the previously discussed concept o perception and understanding o context. Edward Casey's concept o place will acilitate this consideration. According to Casey what comes with the word place can be understood as much more than just a region o space where things happen. Place is a gathering o experiences and memories that conjure together in space-time, the very power o emplacement to bring space and time together in the event. 7 Thereore, the ramework o place, just as the perception o context in sound production, depends largely on individual experience and interpretation. The various elements that can contribute to the creation o place are: eelings, memories, emotions, habitual actions, or sensory perception thereore making place dependent on the relationship between the perceiver and perceived. 8 Further, our natural ways o perceiving the world around us are based upon the concept o how we move in space both physically and intellectually, which then has an impact on how we create places. However, the creation o places oten happens through accumulation o seemingly unimportant experiences that we 7 Casey, Edward S. How to Get rom Space to Place in a Fairly Short Stretch o Time: Phenomenological Prolegomena. In Senses o Place by Steven Feld, Keith H. Basso, (Seattle, Santa Fe, N.M: School o American Research Press, 1999), Norman, Katharine. Listening Together, Making Place. Organized Sound 17.3 (2012):

12 gather subconsciously but which carry with themselves the building blocks or the highly individualized design o a place : I do not decide to make places when I relocate to a new town but gradually, through quotidian, knowledge-gathering movements, begin to map them, through my connection to them: the dog-walking ields; the market with the excellent bread stall; the road with the terrible potholes. 9 Katherine Norman in her article Listening Together, Making Place argues that even though places seem to be created highly individually, they can also be thought o as a collective act o shared experiences because the ways in which we perceive the world are always interdependent on the experiences o others who at some point in space-time shared our particular endeavor in the place-making process. 10 Concert perormance can be viewed as an example o the collective creation o a place. The perormer interacts with the environment created by the audience at the same time providing the audience with the common placeshaping material. 11 That interaction leads to the creation o a concert environment speciic to the location o the event, and the generally agreed social and experiential content shared between the audience and the perormer. The overall result leads to yet another set o inluences that can play an important role in shaping the musical perception o the collective. In his article The Impact o Recording on Listening, Eric F. Clarke suggests that perceiving sounds can be thought o in terms o problem solving. The varied sound signals enter our auditory system in the everyday lie situations, are then sorted out to remove disruptive elements and sustain the ones that contribute to our perception o reality. The elements that we keep then contribute to the creation o the mental picture that completes the 9 Ibid., Ibid., Ibid.,

13 process o perception. Consequently, the sounds that we cannot recognize create a tension that we attend to by inspecting the source o sound in the pursuit o solving a potential problem posed by this conusion. 12 The perceptual acts rom our experience o the concrete sounds o everyday reality inluence our interpretation o abstract sounds such as music. Thereore, our problem solving attitude naturally carries rom everyday lie to the concert hall. However, the nature o the place created by the social context o a concert hall considerably compromises our problem solving instincts and harnesses them leaving us constrained by the situation that then has a direct impact on our musical perception:...the interdependence o perception and action...is signiicantly ruptured in the concert hall...leaving listeners unable to act, or prohibited rom acting, upon the events that they witness The argument that Clarke makes here is that this dynamic o perceptual and social constraint leads to a contemplative perceptual attitude as the whole situation makes the listener subject to the low o perceptual inormation, powerless to intervene in any way. The whole issue o perception inluenced by the social constraints gained an entirely new perspective with the invention o recording. The acousmatic nature o recordings provided an opportunity to hear sound entirely out o context or the irst time. The source o the sound production is entirely out o sight o the listener, yet the acoustical properties o recordings create an illusion that the source is right next to them. The ultimate source o sound cannot be examined physically and so the music perceived in that way gains an extra element o abstraction. Clarke notes Denis Smalley and Luke Windsor's argument that this 12 Clarke, Eric F. The Impact o Recording on Listening. Twentieth-century music 4.1 (2007): Ibid.,

14 disjuncture and increased abstraction provokes an especially intense auditory involvement. 14 The availability o recording and reproduction o sound in today's culture has increased the presence o music in everyday lie to a state o near ubiquity. That has had an impact on our understanding o music and its role in culture. The opinions on whether that impact is positive or negative dier. Clarke discusses Hans Keller's view that the reproductive nature o recordings stands in sharp opposition with the undamentally creative nature o musical perormance. Further, he argues that the ability to interrupt and resume the listening process as well as the ubiquity o the presence o music both as oreground or background has devastating eects on our ability to concentrate and so diminishes our quality o listening. 15 On the other hand Anahid Kassabian in her introduction to Ubiquitous Listening argues that the ubiquity o music that ill our days even though listened to without any primary attention still produce an input o senses that results in aect: Once apprehended, the responses pass into thoughts and eelings, though they always leave behind a residue. This residue accretes in our bodies, becoming the stu o uture aective responses. 16 The availability and the acousmatic nature o recording created an enormous possibility or decontextualization o music that is utilized not only as a creation o new artistic projects but also as a valuable economic and social strategy. An example o such usage is Muzak that began to be deployed in public spaces rom around 1940s. Muzak is a type o music displayed through the means o recording and intended to provide a music 14 Ibid., Ibid., Kassabian, Anahid. Ubiquitous Listening: aect, attention and distributed subjectivity. (Berkley: University o Caliornia Press, 2013), xi xiii. 11

15 background or various types o spaces and scenarios. The musical content o Muzak is dependent on its designated purpose depending on the characteristics o a place and the type o people to attend it. The common purposes o Muzak are or instance to increase productivity in actories or increase receptivity o customers in the commercial retail places. 17 Muzak has been widely used since the mid 20 th century but rom around 1990s it gained a new purpose as it became a...deliberate orm o aesthetic aggression, aimed at alienating groups o potential listeners. 18 Jonathan Sterne discusses Muzak and the changes in its usage in his chapter The Non-aggressive Music Deterrent. He argues that in the 1990s the retail companies shited their interest o the product by choosing Muzak's content not in accordance with what they think their desired customers would enjoy to listen to but rather with what their unwanted customers would eel uncomortable with. Since then the dynamics o Muzak's utility in public space expanded to include the premise o domestication o a public space to non-aggresive music deterrent as Muzak's primary purpose started to encompass discouraging certain unwanted social groups (such as teenagers, drug dealers, homeless people, prostitutes and such) rom loitering in the public spaces. 19 Muzak's choice o the musical material is based entirely on the concept o amiliarity. In order or Muzak to work properly, the musical examples have to contain material that has already been heard or is a amiliar genre. 20 The costumer who is exposed to the sounds o Muzak does not necessarily have to be amiliar with the speciic musical example to be 17 Randel, Don Michael. The Harvard Dictionary o Music. 4th ed. Cambridge, Mass: Belknap Press o Harvard University Press, Sterne, Jonathan. The Non-aggressive Music Deterrent. In Ubiquitous Musics: the everyday sounds that we don't always notice, edited by Marta Garcia Quinones, Anahid Kassabian, Elena Boschi, (Burlington, VT, Farnham, Surrey, England: Ashgate popular and olk music series, 2013), Ibid., Ibid.,

16 aected by it but rather with the speciic context that is associated with that example. For instance Victoria's Secret is one o the world's most successul dealers o classical music. The context that many consumers associate with classical music helps the store's lingerie to appear classy as well as prurient; just as 50s rock and roll hits can give a hamburger joint an all-american eel. 21 Muzak's success can be interpreted as coming rom the recognition that using amiliar music as context can create places. Thus the decontextualization o the original music enables its use to simulate what is imagined as its lost context. The designated group o people that can properly interpret the context o the presented musical material would then create a place in the public space that would be comortable or them while possibly deterring others. Muzak clearly exempliies how context in sound perception can have a powerul shaping inluence on the social dynamics, an example o sound's proound entanglement with cultural background. Creating a comortable place or people to perceive the applied context o a musical perormance or sound installation seems to be one o the key eatures o a successul music marketing strategy. Working against that principle can create a potentially interesting (or dangerous) perceptive outcome or the designated group o listeners. Further, the unique nature o background that shapes the perception o each individual provides yet another element o variability inside even the most established targeting intentions. Thereore, it seems that the outcome o music that uses requent perceptual changes or oreign contextual elements will most likely be unpredictable and a subject o experimentation rather than a oundation or a clear projection o an idea. Unless, the idea itsel is to conuse the listener. 21 Ibid.,

17 Genre, and the production o meaning. With the great amount o variability in the process o sound and musical perception comes the need to parse incoming sound into meaningul sets o stimuli. While musical perception is highly individuated it is nevertheless shaped by the context. Thus, to be able to understand musical content collectively, a group o people need some kind o language o correspondence. This is where the concept o genre originates. Genre is an aggregate o the means or seeing and conceptualizing reality. 22 Genre has been described by John Frow in his book Genre as an element that's necessary or the construction o meaning. For instance, anything expressed in writing requires the reader to possess knowledge that inorms their interpretation o the text. Genre is one o the ways that knowledge is organized. Thereore, genre can be thought o as the most basic condition or the meaning to take place within. 23 While Frow discusses this in the context o writing I believe that the same reasoning can be applied to music. O course, the understanding o genre itsel is not universal and may shit or veer depending with the context. In the case o music, genre can be understood as reerring to a particular kind o music within a distinctive cultural web o production, circulation, and signiication. 24 So musical meaning can be derived rom genre because genre is not only in the music, but also in the minds and bodies o particular groups o people who share certain conventions. 25 Because o its embodiment in social structures and conventions genre 22 Frow, John. Genre. (New York, London: Routledge, 2015). As cited rom Bakhtin/Medvedev The Formal Method in Literary Scholarship (1985), Ibid., Holt, Fabian. Genre in Popular Music. (Chicago: University o Chicago Press, 2007), Ibid. 14

18 can appear to listeners as a natural attribute o music. Genre is oten considered as a necessary boundary or artistic creation. As stated by Friedrich Schlegel: Without division, creation does not take place; and creation is the quintessence o art. 26 Further, genres are not only the restrictions placed upon artists to create works but are deeply embedded in any artistic or inormational creation. In other words, genre does not exist because we categorize inormation ater perceiving it, rather it enables us to receive that inormation in the irst place and exists a priori o its name: The singer sings the genre(s) o his music. No need to wait or some academic to come along and theorize it (them) or him... genre is only secondarily an academic enterprise and a matter or literary scholarship. Primarily, genre is the precondition or the creation and the reading o texts. 27 Genre, however, seems to be commonly associated with the idea o categorization, and is oten met with skepticism, appearing to some as narrow-minded. This can provoke the desire to break categorical paradigms 28 and hybridity is a way to undermine categories while retaining genre as a tool or organizing perception. Thus, hybrids seem to orm as artists make room or their individual needs and considerations within a genre. Hybridity may then take many dierent orms and shapes, and be pursued with the particular generic entanglements that a particular musician may want to experiment with. The techniques, guidelines and possibilities or genre hybridization are discussed in detail in Robert Bentall's article Methodologies or Genre Hybridization. Bentall writes 26 Beebee, Thomas. The Ideology o Genre: a comprehensive study o generic instability. (University Park, PA: Pennsylvania State University Press, 1994), Ibid., Holt, Fabian. Genre in Popular Music. (Chicago: University o Chicago Press, 2007),

19 about the speciic musical trademarks that constitute a particular genre (such as speciics o rhythm, harmony, melody, timbre, etc.), and then provides the possible solutions to work against these establishments to create hybridized orms within the medium o electronic music. The examples o such techniques include manipulations such as including an oboe player in a conventional rock band. Bentall claims that because the line-ups or rock bands (vocal, guitar, bass, drums) are strongly identiied with the genre, the inclusion o an oboe player would automatically hybridize the rock genre with Western classical. Same goes or an inclusion within a popular music song any time signature other than 4/4 or 3/4. 29 The establishment o a genre in popular music, however, goes deeper than a simple usage o speciic instruments or drum patterns. The boundaries are placed within multiple dierent elements inside a song both in its musical content and the lyrics. Bentall writes about the pre-established timbral elements such as playing on correct sort o guitar, in the lowest register o the instrument and with an appropriate tone to be able to it into the pop genre. 30 Changing any o these parameters would lead to hybridization. Another example could be the spectral placement o chordal sequences in the electronic dance music tracks, which usually appear within the mid range o the song, so they don't interere with the bass line and the vocals. Bentall proposes the technique o switching registral placement within a dance song as a possible technique or its hybridization. For example, how it would change a song by just switching the registers o bass line with the melody or shiting the placement o chordal sequences so they constantly interere with the bass line or vocals. 31 The issues with generic speciicity in song lyrics are mentioned in Music Genres and 29 Bentall, Robert. Methodologies o Genre Hybridisation. Organized Sound 21.2 (2016): Ibid., Ibid.,

20 Corporate Cultures by Keith Negus. He writes about his own experiences in writing songs or a band with the need to it into very particular genres. The irst attempt to introduce his songs was met with certain amount o acceptance but also criticism that they have resembled Paul McCartney too much. This is the solution that Negus ound: Somewhat irritated I went away, brought my limited knowledge o Deep Purple to bear on a ri stolen rom Lou Reed, put it through a uzz box, wrote about a rock band who cause minor havoc in a rundown hotel, and called it Rock Mansion Hotel it was instantly accepted by the band. 32 By simply understanding the generic constraints o his band members, and inding a simple solution to it within them, Negus was able to gain acceptance rom the band. The generic constraints seem to claim a broader means or compartmentalizing music within speciic social groups but also have their aspects o individuality. The boundaries o a particular genre have to be in accordance with what particular individual imagine them to be. As Negus writes: I have subsequently come to believe that the most successul bands knew exactly what genre they were playing, recognized its musical and social boundaries and understood what their audience wanted to hear, see and be told. 33 What happens though when genre boundaries are distorted to the level that hybridization itsel becomes a genre? A situation like that could potentially lead to various sets o miscommunication. Negus talks about some genre miscommunication issues rom the time he was playing in a band. Those issues would oten result in opinions such as: you are too poppy or this place. Eventually he says that his band grew to understand the genre boundaries o their venues, which allowed them to adapt programming decisions to their 32 Negus, Keith. Music Genres and Corporate Cultures. (New York, London: Routledge, 2004), Ibid.,

21 speciic venues. This knowledge included recognition o venues that would allow them to be poppy or where they could get away with extended jams or heavy sound. 34 Genre as the most basic orm o communication in the musical industry is also stressed in Fabian Holt's book Genre in Popular Music where he writes: The apparatus o the corporate music industry is thoroughly organized in generic and market categories. From the moment an artist starts negotiating with a major label, he or she is communicating with a division specializing in a particular kind o music, and the production then ollows procedures o that division beore inally the music is marketed and sold as a product with a label and registered with a generic code in the database o retail stores. 35 The issues with communication and mutual musical understanding become even more complex when the work attempts to not only lie between genres but also between musical cultures. One challenge with such composition is conveying the musical intention to the perormer and then rom the perormer to the audience. Naturally, the variety o backgrounds o the perormers and audience members involved precludes any certainty o success. And any attempt to compose a work explicitly drawing on multiple cultures raises issues such as the ethics o appropriation, the nature o cultural exchange and the speciicity o context including the power relations between the cultures involved. 34 Ibid., Holt, Fabian. Genre in Popular Music. (Chicago: University o Chicago Press, 2007), 3. 18

22 Appropriation and exchange. With the example o Robert Morris' Rapport. Rapport is an improvisational composition or live electronics where the perormers are mixing and processing pre-recorded world music 36 tracks provided by the composer. It was composed in 1973 by Robert Morris, then a teacher at Yale University, to be perormed with his graduate student and riend David Mott. The original version o the piece (rom 1973) was created at the Yale Electronic Studio using a our-track tape deck, an ARP analog synthesizer, a reverberation unit, a tape delay system, and stereo sound. The revised version rom is a MAX patch with digital delay system and digital synthesizer based on the ARP. The original version was intended or a perormance inside the electronic music studio or the personally invited closed group o riends, colleges and music enthusiasts (up to 20 or one perormance). The 2010 version can be perormed at any concert venue with any number o the audience members or to be presented as an installation 38. In this section I will explore both versions o Rapport in the context o their usage o appropriation, how it changes with the perormance setting and how it gets justiied with the concept o meta-composition and the Music o Musics. The basic sound material o the piece consists o our pre-recorded tracks o the 36 The term world music as explained by Robert Morris in Remembering Rapport rom the Open Space Magazine, issue 12/13, Fall 2010/Winter 2011: The term world music is a bit o a catch all, but it aptly replaces problematic older terms such as ethnic, primitive, non-western, non-classical, vernacular, etc. A more limited predicate or world-music is usion, where musicians o dierent cultures play music together. 37 See appendix or the written instructions or both versions o Rapport. Please note that in the instructions or the new version Robert Morris calls the 2010 version as 2012 because that was perhaps the year when he wrote the verbal instructions. However, he made the MAX patch in 2010, which is why I will call this version as such was also the year when the album with both versions was released. 38 As explained in the set o instructions or 2010 version. See the appendix section. 19

23 excerpts o music rom dierent parts o the world (traditional olk music, ritual music, court music, Western classical music, jazz, pop and so on). The excerpts are dierent on each track and do not repeat. Perormer 1 chooses the tracks played throughout the perormance. This can be a single track, or a mixture o two, three or our all together. Tracks can be played in their original orm or mixed through the delay system that creates streams o delays resulting in canons o varied complexity. They can also control the panning and reverberation. Player 2 processes the mixed tracks using the synthesizer that allows or requency modulation, ring modulation and saw ilter (lowpass ilter with variable center requency and resonance) with various chosen or automated processes within. The resulting sound is a blend o varied musical material rom all over the world with electronic processing unctioning as a sort o glue that connects the dierent excerpts being juxtaposed. The impetus or Morris to work on Rapport was the music o Karheinz Stockhausen that uses appropriation (such as Telemusik or Hymnen) and the usage o tape delay system in works o Pauline Oliveros (such as I o IV). Morris' interests in non-western music dates back to his teenage years and eventually lead him to explore non-western materials and techniques in his own compositions. He started experimenting with scales that he read about in Alan Danie'lou's book North Indian Music when he began his studies at the Eastman School o Music: When I inally got to Eastman, I ound that these scales that I had read about in Danie'lou were very interesting and could be used in composition. I began to ool around with them and by the time that I was 18 or 19, I had a way o polyphonizing these things and putting them into Western orms. 39 Ater urther studies o non-western music, Morris aced 39 Kyr, Robert. Transorming Voices An Interview with Robert Morris. 20

24 a compositional crisis because he ound it diicult to connect the concepts underlying his compositional training with the musical ideas he encountered in other traditions. His worries were that no matter the technique he used to ind those connections, his eorts would always remain ethnocentric and he would be limited to creating musical colonies within these vibrant traditions. He resolves this by identiying electronic music as a sort o neutral ield where music o any genre could coexist: My work in the electronic medium helped provide a provisional solution or my dilemma. Electronic music was a sort o neutral playing ield where anything was possible, limited only by issues o technology. 40 Morris' justiication or appropriation goes beyond the identiication o recorded sound as an object that can be manipulated regardless o its origin and ownership. He cultivates the concept o an exchange o goods where, because both parties get some kind o beneit, the appropriation becomes a collaboration. Perhaps one o the most obvious examples o such exchange is obtaining permission rom the owner in exchange or a material, emotional or intellectual beneit: The issue is somewhat reduced i you do reality checks with the musicians with whom you collaborate, or whose music you use in your own work. So i I use a shenai recording in my work, i the player who made the recording approves, or doesn't care, or is happy about it i his/her name is mentioned in notes, or receives payment, then it is OK. 41 The situation changes i the maker o the music to be appropriated does not understand the context o the appropriating work or the usage that will be made o his or her music. In that case there is a possibility o a covert colonialism despite the previous agreement between the parties. In the case o Rapport, however, none o the 40 Morris, Robert. Remembering Rapport. The Open Space Magazine (2011): Morris, Robert. Rapport Question. Message to Tomasz Arnold. Nov. 20, See Appendix 1. 21

25 musicians are credited in the score o the piece, and consequently remain anonymous. The concept o exchange, although mentioned by Morris as the simplest way o justiying the usage o appropriation and depriving it o colonialism, has no direct application in his piece. Because o the lack o credits and permissions or the usage o appropriated music, Rapport does not oer any kind o beneit to the creators o the subjected material in exchange or its musical content. Morris explains that he elt guilty about his approach in appropriating world music in Rapport until he gained an understanding o how the musicians in India oten use the traditions o Western music and its scholarship without asking, to help them gain recognition. In that way, one could conclude that there is some sort o established non-written agreement between the West and the East where the music or musical tradition could luctuate reely giving each side some kind o very generalized concept o beneit, which would then make the exchange o goods unction without the necessity o verbal or written permission: In my case, I do not credit each perormer on the source iles in my notes on the piece, or at a perormance o the piece, so I am guilty o using music without exchanging something or it. I worried a lot about this until I saw that perormers rom other traditions use Western music or their own purposes without asking, too. More pertinently, in my interactions with Indian musicians, they get recognition because a Western musician/scholar is involved in their music, so the beneit goes both ways. 42 Another aspect o Morris' explanation o justiying appropriation in music links to his understanding o the musical practices in India. Ater living there or some time and acquiring what he called street cred, his understanding o the concept o musical borrowing has changed. His view ormulated that certain musicians have a natural right to borrow music 42 Ibid. 22

26 o others i there is a previously established connection between their music and the subject o appropriation. The idea links to the concept o homage where, or instance, a Western music composer may quote iconic pieces o Western music in his own work. The idea touches on the concept o works o Western music being embedded so deeply in the Western music tradition that a composer working within that tradition automatically gains permission to quote them without asking or it: I I quote a passage rom Beethoven in one o my pieces, I do not need Beethoven's OK (not only because I cannot get it since he is dead), but because as a Western composer I have a sort o license to borrow music i I do it with respect. 43 The roots o that approach go back to the very beginnings o Western music in the pre-copyright times (beore Haydn) where the concept o musical plagiarism simply did not yet exist. 44 Morris, however, bases the concept o homage on the Indian music practices where a student studying with a guru establishes a bond with his master that allows him to then create music in his master's style:...in other cultures, when a perormer has studied with a master teacher (guru) or some time, there is a bond that is not broken by playing music in the master's style without mentioning it in act, playing music not in that style may be seen as transgressing that bond. 45 Finally, the main actor that unctions as means o justiication o the usage o appropriation in Rapport is the very nature o the piece itsel, which Morris calls metacomposition. He explains meta-composition as a collection o rules, materials, technologies, and practices that produce compositions or improvisational results Ibid. 44 Goehr, Lydia. The Imaginary Museum o Musical Works. (New York, Oxord [England]: Clarendon Press, Oxord Scholarship Online, Oxord University Press, 1992), Morris, Robert. Rapport Question. Message to Tomasz Arnold. Nov. 20, See Appendix Ibid. 23

27 Consequently, a successul perormance o Rapport depends not only on Morris' compositional and technological work but most importantly on the abilities and creativity o its perormers. The piece (in its 2010 version) is very accessible or anybody who has a basic understanding o computer technology. Hence, it can be perormed by any musician regardless o their background or the musical tradition they associate themselves with. This element o excessive compatibility makes subsequent perormances o the piece dierent rom one another depending on the perormers. The general time deployment o material will be consistent but dierent musicians are going to have dierent relationships with the appropriated material, and consequently are going to react to it in various dierent ways depending on their background and ability to maniest their reactions in their perormance. Morris acknowledges that these variable characteristics o Rapport make the piece impossible or him to ully claim ownership or. Thus, it could be concluded that this relationship o the core idea to the perormative aspect o the piece automatically clears Rapport o the label o being colonialist: Rapport is not something one can own in the same way I own a composition o mine notated in a score. And moreover, Rapport's success depends not only on its conceptual base as conigured in its rules, materials, technologies, and practices, but on the people who use it to make a piece or improvisation. Considering the source music on the sound-iles rom this perspective means that i an Indian musician plays Rapport, then there will be some music rom his/her tradition on the source iles, just as when you or I play Rapport, where there is some new music on the source iles. Also, when this Indian person plays Rapport his/her (traditional and practiced) way o hearing and playing will guide the piece dierently rom when you or I play it Ibid. 24

28 Morris himsel talks about the piece in the context o the term Music o Musics. He provides the varied musical material, and perormers then navigate them through the development o the piece making music that is solely about that material. The idea o making music that's purely about other musics is in Morris' view a celebration o music making as it is with all o its conceptual and emotional similarities cultivated in its sound, and not necessary in its cultural or geographic placement: all these dierent musics rom all over the world blending and succeeding each other in beautiul, subtle ways with the electronic sounds supporting and contributing to the texture without seeming artiicial or inappropriate. It elt as i we [were] guiding all these musics to cooperate and make a music o musics. 48 One might wonder about the nature o interest and underlying goals o music o musics. Is the goal to create a new relation to the musics constituent o the piece congruent with the goal o Muzak or non-western music used in a ilm score? Is the goal to help listeners eel compelled to investigate the constituent musical sources? Or is there no particular goal other than experimenting with sonic interest? The considerations o how perormance setting and context aects the perception o Rapport and its relation with the usage o appropriation goes beyond the purely perormative aspects discussed above. The issue also touches on the technological undertaking and its dierences between the versions rom 1973 and At the early stages o the piece's development Morris was considering the question o how Rapport, being so dierent rom what was then thought o as a typical academic concert art music, is going to it into the concert setting paradigm. The dierences were that Rapport (in addition to its world music associations) was intended to be wandering and not have any clear direction or path o 48 Morris, Robert. Remembering Rapport. The Open Space Magazine (2011):

29 development: Part o my worry about the piece had to do with the kind o experience I wanted to project. This was not going to be a gripping concert piece with architectonic structure and a climax just at the right moment. The piece I had in mind was much more intimate and luxy than concert music. 49 Rapport was not necessarily meant to be heard by many people but rather by those who shared Morris' passion or cross-cultural collaborations and would be hearing the piece with an open-minded attitude, and possibly willing to engage in discussion about it. This social boundary was reinorced by the diiculty o accumulating the technology needed or the piece. That is why, in its original orm, Rapport was intended to be perormed in an intimate setting o Yale Electronic Studio that could comortably accommodate up to twenty people or one perormance. Six perormances were given in 1973 or the one hundred personally invited people rom among Morris' and Mott's riends and colleges. 50 In its 2010 version, Rapport no longer poses such technical diiculties. One laptop with MAX/MSP, MIDI keyboard and a stereo PA system is all that is needed or a successul perormance o the piece. Morris created the 2010 version ater years o the piece being abandoned ollowing the initial perormances. He met again with David Moss to revive Rapport in 2010 with the new digital version. The original tapes with the world music excerpts have decayed, so it was necessary to gather new material, and record it digitally. Together with the excess o resources in the 21 st century, the new sound tracks involve a much more varied and rich musical material than the original analog tapes rom However, with the accessibility o the new version, the piece no longer needs to be presented 49 Ibid., Ibid.,

30 in an intimate studio space but can be brought into any concert venue (including the traditional concert hall). I don't believe that Morris' concerns or the presentation o Rapport continue to bother him as in the program notes or the 2010 version he himsel mentions that the venue or the presentation o the piece is up to the perormers to choose. 51 The general devaluation o recorded music brought about by its ubiquitous availability as well as the development o music and musical thought rom 1973 to the present has transormed the traditional western concert experience enough to accommodate music such as Rapport. However, the experience o perorming and listening to the piece in the traditional concert setting with the clear division o perormance and audience space is certainly dierent rom the intimate atmosphere o the 1973 perormances. Those considerations were the core idea or my interpretative decision (when I perormed the piece with Omar Fraire on my recital Happy Hybrid) to bring the perormance o Rapport into the seating area o the Wesleyan's World Music Hall to somehow recreate the intimacy with the audience that was originally intended or the piece. The accessibility o today's technology, even though it changes the perception o the piece considerably, is more in accordance with the piece's idea o being easible or any perormer regardless o their background. Even though Rapport in its 1973 version could in principle be perormed by anybody, as a practical matter it needed perormers with substantial expertise in electronic music technology, others would simply not know how to go about making the piece. In the 2010 version the compact nature o digital technology eliminates most o the theatrical elements o the original piece. In the 2010 version, two perormers just sit in ront o a computer pressing buttons while the original required the physical engagement o 51 See the 2010 version score in Appendix 1. 27

31 patching cords and adjusting the sliders on the ARP synthesizer. The size and magnitude o the analog equipment required greater corporeal involvement and commitment. In a way, one could conclude that because o perormers' relationship to analog sound during the realization o the irst version o Rapport, the concept o the treatment o the appropriated material as sound on its own right is much more transparent than when dealing with digital technology. On the other hand, the increased accessibility o the digital version made the concepts o transethnic perormance and shared ownership unction much better than with the analog version. I we lay out various aspects o Rapport rom 1973 and 2010, we can notice elements that shape the perception o the piece and its relationship to the issues o appropriation and musical colonialism in both versions: The intimate setting o the 1973 version where people were able to observe every part o the perormance closely as well as ask detailed questions about it made the piece interesting visually. While the intimate perormance setting can be continued with the 2010 version, the usage o the equipment is not nearly as intriguing as in the irst version, and so does not invite the same kind o curiosity (unless someone would be interested to dissect the MAX patch but then they would have to have previous expertise to understand it). The accessibility o the 2010 version provides an opportunity to explore any kind o perormance setting making the piece much more diverse in terms o its possible perception and contextual complexity. Further, it also makes the piece available to be perormed and received by the members o dierent cultures and places around the world, which seems to be one o its compositional goals. 28

32 The evolution o the musical thought and concert practice in the 21 st century makes the piece's usage o world music and its wandering nature less controversial. However, it can also result in reduced interest or the musical relationships presented in the work, and ultimately make the listening experience less resh and intriguing to some than it might have been in The increasing hybridity and globalization o music in the 21 st century makes the issues o appropriation in the 2010 version somehow less transparent (especially i we consider the digital reproduction technology and the excess availability o data). These are only a ew rom the vast universe o cross-cultural and perceptual discussion topics that a piece such as Rapport can trigger. Issues such as appropriation, colonialism, copyright, ownership, perception, diversity, context and so on, are especially transparent with Rapport's extensive usage o world music recordings and the way they are manipulated throughout. The dierences between what's a borrowed material and what would be considered musical thievery are vague and subjective, and cannot be answered with just one musical example (or perhaps cannot be answered at all). The possibilities or variability in musical perception in such cases are vast. The potential issues with transmission, communication and understanding are omnipresent. Much scholarship has been done on such issues and they have been considered rom many possible angles. However, I still think that whether we decide that urther discussion o these topics is useul or not, the works such as Rapport will always remind us o the subjective nature o musical perception, contextual complexity and cross-cultural communication. Those issues will remain based on one's musical understanding, past experiences, knowledge, degree o cultural conservatism as 29

33 well as something as mundane as pure interest and open mind. In a way decontextualization and juxtaposition o musical contexts is the characteristic o contemporary culture that's inescapable. The excess availability o recordings we listen to in everyday lie, various media sources such as youtube, bandcamp, soundcloud as well as the ubiquity o Muzak, radio broadcasts and TV screenings are only a ew examples o such decontextualized musical juxtapositions. My goal when working within this reality is to embrace it and ind successul strategies o navigating these juxtapositions in ways that lead to hybridity without the exclusion o any possible combinations. Works such as Rapport are congruent with my musical goals because they, too, seek or the uniication o genres while keeping their identities intact. My response to this concept o uniication is through perormance and connection that's included in my own interests and instrumental abilities within each identity. Hybrid Recitals and works o mine that I'll discuss in the ollowing chapter are all part o an ongoing project o understanding this diverse musical reality and navigating through it in honest and enriching ways. 30

34 Chapter 2: Exploring Musical Hybridity. Village o Control The analysis o cross-cultural reerences, and the impact o ignorance on the ailure o the realization o musical Utopia. In its original orm Village o Control started rom an idea similar to Morris' Rapport. My interest in the vast variety o musical languages and cultures has lead me to the creation o a piece that would explore those cultures while trying to avoid ethnocentrism or colonialist overtones. Taking advantage o the Wesleyan's world music program with its diverse group o musicians, I searched among my colleagues or perormers experienced in non-western instrumental or vocal techniques. I ended up with an ensemble consisting o: an overtone singer (luent in Khoomei style o singing), Chapareke 52, Pipa, Marimba, Bass Steel Pans and Gamelan. The choice o this unusual mixture o instruments was based on the availability o experienced perormers (in the case o the overtone singer, Chapareke player and Pipa player), and purely coloristic values (in the case o Marimba, Steel Pans and Gamelan). The realization o the originating idea o creating a non-aggressive cross-cultural environment inside a piece o music turned out to be a ailure because during the process o writing the piece, I consistently kept ailing to remove my compositional personality rom the creative process. In its original orm, the piece was going to be a clash o cultural identities governed by the perormers who would take control over the musical material working within each identity. In an attempt to gain a better understanding o each identity, I studied what 52 For detailed inormation on the chapareke see the perormance notes section o the score or Village o Control in the appendix. 31

35 appeared to me as its iconic repertoire. In retrospect, I realize that this approach, with all o its good intentions, worked against my original concept o the piece. The urther I progressed in my studies, the more speciic my musical ideas became, leading to an increased control over the material coming rom me as opposed to the perormers I wanted to work with. As a result, the piece, which originally resembled Morris' concept o a meta-composition became a ully-notated work o what some could call concert western music. What continued to stay aithul to the original vision is the piece's non-western instrumentation and perhaps just a little bit more indeterminacy in the musical material than what one could ind in most o my other pieces. As I kept working, I started to gain an increased awareness o the complexity o my original idea or this piece. I slowly started arriving at the conclusion that, while it might be possible in some cases, it is certainly impossible in my case to ully reuse exerting control over the material. I we strip the idea down to its very basics, we could already draw a conclusion that the most basic governing element o the compositional process (which in this case was to ind an interesting group o musical cultures and put them together) could already be considered as an assertion o my own power statement inluencing everything that ollowed no matter what my intentions were. This realization made me abandon my original Utopian idea o the cross-cultural altruistic sound environment. Instead, I accepted my inevitable control over the piece, and started searching or ways in which (while still being the governor) I could give certain elements o power to the players and their styles over one another, and navigate their mutual inluences in a meaningul way. The piece's musical material is drawn directly rom the perormance practice o each perormer, and deployed in the instrumental pairs. The pairing is dependent upon the 32

36 workings o the instruments and the inluence that they create upon the structure o the piece. The overall sequence o the pairs presents itsel as ollows (starting rom the most inluential): 1. Overtone singing with the chapareke the overtone series made evident by vocal resonance is the most prominent melodic element o each o these and determined their pairing. The two appear as the most inluential as thanks to their nature, the overtone series became the basis or all o the pitch material in the piece. The overtone singer's part is always in the oreground. The chapareke part appears as a background only when the overtone singer is eatured as a soloist and never as a supporting part or any o the other instruments. 2. Pipa with Marimba no elements o these two instruments have a direct inluence upon the structure or basic musical material o the piece. Structurally, their parts are o secondary importance. The pointillist nature o the sharp attack and decay o their sound production unctions as a contrasting material to the luid nature o singing and bowing on the chapareke. Within the pair, however, the marimba plays a supportive role to the pipa as most o the motivic material o the pair is generated rom my observation o the musical gestures rom the pipa repertoire. The pair also provides the contrasting contribution o equal-tempered tuning to the natural tuning o the overtone series in the Khoomei and the chapareke. 3. Steel Pans and Gamelan the instruments are chosen purely or their timbre making the parts unction mostly as coloristic embellishments to the piece. The least amount o eort has been given by me to understand the workings o those instruments and their corresponding cultural identities, which lead to some issues with the Gamelan 33

37 usage (that I will discuss below). The gamelan, however, having the musically least involved part, is in direct control over the tonal center o the piece as the undamental note or the overtone series (and consequently the pedal tone o the overtone singer and the tuning o the chapareke string) is dictated by the tuning o the speciic gamelan set involved. In the case o Wesleyan's gamelan set, the approximate pitch o the gong suwukan labeled no. 1 on the scale matches something between C and Db but closer to Db according to my ear. Hence, the entire harmonic structure o the piece was written in accordance with the overtone series o Db. The relative tuning system o the gamelan with oten approximate and/or detuned character o the bass steel pan's notes provides yet another contrast to the very speciic tunings o the overtone series and equal-temperament o the other two pairs. Having some o these relationships apparent rom the early stages o the work, and some o them becoming clearer as the composition progressed, the piece materialized as a airly speciic set o instructions in spatial notation. Consequently, the piece requires people who are more or less luent in reading western notation, which is another aspect that retreats rom the original idea o a non-westernized musical environment. Nevertheless, I do not consider the piece a ailure in terms o its musical and compositional values, and do not hold any nostalgia or abandoning its originating concept. Rather, I consider the whole process as an instructive way o understanding my own musical personality in my attempts at loosening its egocentric elements and understanding the vast varieties o my musical inluences that I am constantly interested in exploring. It became clear to me ater taking my time to look at the piece in retrospect that I 34

38 took a dierent approach towards each o the six ensemble parts, which inluenced the inal musical outcome o each part as well as its relationship towards the issue o ethnocentrism and cultural appropriation. Each o the parts has its speciic identity that is in dialogue with my understanding o its musical and cultural source material, and each provides a contrasting topic or discussion. In the ollowing paragraphs o this chapter I will discuss the structure o inluences, musical sources, usage o appropriation, and genealogies o each o the instrumental and vocal parts o Village o Control in an attempt to urther examine my ailure in realizing its original idea. The dilemmas o transmission. Beore I start discussing the musical material o each instrumental part, I would like to discuss the issue o the orm o transmission I used to deliver the musical content o the piece to its designated perormers. Coming rom a background o Western art music training, I naturally started using western notation rom the very beginning o my work on Village o Control. As I'm used to, rom many earlier compositions, I started writing ideas down on paper as soon as they appeared in my mind. First in orm o sketches and written notes, later in orm o orchestrated excerpts o material, and inally as a ully realized score. Considering the background o the perormers who were going to realize my work as well as my own, the orm o written transmission o the piece seemed the most logical and natural choice at play. However, it only occurred to me ater the piece's premiere that the mode o transmission could have had a valuable impact on the realization o the concept o a cross-cultural environment without a dominating Western presence that the piece was going to encompass 35

39 in its original orm. It is clear to me rom my previous experience in learning composition that the widespread inluence o Western music notation as well as its inevitable importance to Western music culture has created a sense o dignity in the treatment o score by a Western composer. The issue was very apparent in the music conservatories where I previously studied composition. Some composers I interacted with during those years treated notation as a goal or a one way delivery o the musical thought rom them to the perormers. This was relected in their pursuit o extreme clarity to a point o excess in their notational strategies. This understanding o the importance o notation also leads to the treatment o notation as a orm o development over other orms o transmission creating a alse dichotomy between notation as the advanced orm o delivery as opposed to oral/aural tradition being the more archaic outdated one. 53 I have learned a lot rom this approach to increase the clarity o my own notated pieces but in my experience the transmission o the musical material is never single-directional and always involves an element o exchange between composer and perormer that happens orally, outside o the notation. The dichotomy between oral/aural versus notational modes o transmission is based upon the assumption that music has to be transmitted either imperectly through oral transmission or perectly through written transmission and the distinction o a notated piece traveling untouched through time as opposed to the orally transmitted one that encounters requent changes along the path o the history. 54 However, what needs to be considered is that composers o music intended or the oral preservation created music that could be orally 53 Patterson, Emma E. Oral Transmission: A Marriage o Music, Language, Tradition, and Culture. Musical Oerings 6.1 (2015): Ibid.,

40 communicated to other perormers and, consequently, might be orally communicated to others. 55 Further, notation itsel does not guarantee successul preservation o the musical material, as it always requires substantial knowledge o perormance practice, historical context and oral amiliarity or its successul interpretation. These characteristics can become the context or extensive debates over interpretation, which suggests that notation has an inescapable entanglement with cultural context. 56 A concrete example o this can be ound in the methods conservatory musicians apply to learning new repertoire. That includes detailed studies o recordings to gain an understanding o a perormance practice or, i the work has not yet been perormed or recorded, extended interactions with the composer. This model seems to be shared by both classical and jazz learning techniques, not to mention pop music. Further discussion o the topic leads to the conclusion o inevitability o oral/aural aspect o music learning that is, and will always be, embedded in the music notation no matter the level o detail it provides. The connection o oral/aural method o transmission to the natural process o music learning is also evident in its increased interest in music education as well as in the observed methods o learning music among children. 57 I we go back to the Morris' concept o meta-composition (a collection o rules, materials, technologies, and practices that produce compositions or improvisational results), we can notice certain similarities between that concept and the origins o Village o Control. Meta-composition in its nature produces musical results that are independent rom the 55 Ibid., Sramek, Jordan. Seeking Common Ground through Oral Tradition. Biblical Theology Bulletin 43.4 (2013): Patterson, Emma E. Oral Transmission: A Marriage o Music, Language, Tradition, and Culture. Musical Oerings 6.1 (2015): 35; Campbell, Patricia Shehan. Unsae suppositions? Cutting across cultures on questions o music's transmission. Music Education Research 3.2 (2001):

41 composer and vary highly depending on the background o perormers. Hence, the perormer and their musical and cultural background become central to the subject or the workings o the piece making it in a way a common property o the composer (working as a governor o the concept) and the perormer (unctioning as the one who makes the music happen on both compositional and perormative levels). 58 My original idea was to base the material o the piece on the experience o the perormers with their varied cultural backgrounds dictated by the instruments they play. That concept o commonality was clear to me rom the very beginning o my work on the piece. How to actually achieve it in a successul way still remains a mystery to me even with the piece completed. Contrary to Morris' approach, who provided a written, verbal set o instructions or Rapport that can be understood globally, I provided my perormers with a very speciic, customized orm o notation 59 that nevertheless drew on the notational conventions with which I am the most amiliar. Its westernized elements such as sta notation, cles, standard rhythmic notation, dashed barlines etc. are very apparent, and most deinitely require a previously established knowledge o the tradition o Western music notation. However, the reason why I worked in this way and never even considered any alternatives lies in the general utility o notation in accelerating the learning process. I we look back at the purpose o the early neumatic notation, we can see the dependency o the early notational practices with the issue o eiciency. In its earliest orms notation was there to remind the perormers o the passages that they already had learned orally. Sramek mentions this in his article Seeking Common Ground through Oral 58 Morris, Robert. Rapport Question. Message to Tomasz Arnold. Nov. 20, For detailed explanation o the notation procedures in the piece see the perormance notes. 38

42 Tradition : The earliest neumatic gestural notation (again, that which is musically suggestive but without actual musical notation) are simply a series o mnemonic symbols ound above the text that aid singers in recalling or conjuring rom the depths o their memories what has already been placed there. Such notation would have been used or teaching, and as a reerence in the event o a memory slip rather than in perormance. 60 Further evidence can be ound in the development o gamelan's kepatihan cipher notation and attempts o developing adopted sta notation or the Western students willing to learn the gamelan. 61 An example is also provided by Patricia Campbell in her article Unsae suppositions? Cutting across cultures on questions o music's transmission where she describes the struggle she went through when she was trying to learn Filipino kulintang through the traditional and authentic learning process, which is oral/aural and involves holistic listening and repeating ater the teacher or joining them in the amiliar phrases. The process is a combination o listening and kinesthetic approach o repeating the movement and then matching it with the sound. What Campbell had to end up with was a set compromises to the traditional learning process until she ultimately arrived at notation: We continued, she compromising by playing the entire piece several times, then playing double phrases with me ollowing in my attempts to play them back. Then she would give me time to scratch out a notation o stick rhythms, a combination o pitch numbers and solege syllables, and comments on which phrase happened when. 62 The evidence rom various oral/aural musical traditions seems to lead to the 60 Sramek, Jordan. Seeking Common Ground through Oral Tradition. Biblical Theology Bulletin 43.4 (2013): Sorrell, Neil. A Guide to Gamelan. (Portland, OR: Amadeus Press, 1990), xvi. 62 Campbell, Patricia Shehan. Unsae suppositions? Cutting across cultures on questions o music's transmission. Music Education Research 3.2 (2001):

43 conclusion that there is no reason to assume notation as the only easible orm o delivery. The ubiquity and eiciency o notational practice in Western music, however, can make it easy to ignore alternatives. This is exactly what happened in my case when working on Village o Control. I have used conventional notation because it was eective within the local culture o Wesleyan graduate students and it made it much easier to include in the thesis. This decision, however, makes the piece uneasible or the perormers unamiliar with music notation, which is a big actor that contributed to the ailure o the realization o my goal o a globalized and altruistic approach. While an oral/aural orm o transmission o the Village o Control to its perormers would certainly require a much larger amount o rehearsal time, I would not discard it as a possibility. The piece, even though highly ixed in terms o its musical material, involves enough luidity that an entirely aural rehearsal process could be ollowed without consuming too much rehearsal time. Interestingly though, the nature o the score with its movable undamental tone that depends on the gamelan tuning and dictates the entire pitch structure o the piece suggests the unction o the score being more as a preservation o a customized version o the piece rather than a ixed set o instructions to be ollowed regardless o the circumstances. These characteristics are congruent with the nature o early neumatic notation unctioning to revive the music in perormer's memory, and perhaps suggests that the score in the case o my piece could be used in the same way. My choice o notation or this piece that was supposed to detach the musical outcome rom its westernized roots reveals my compositional training pretty clearly. It suggests how diicult it can be to detach mysel rom working with notation. It is so embedded in my 40

44 compositional training that using notation was an intuitive decision rather than a logical one. The overtone singer. The idea o writing a piece or an unusual combination o non-western instruments appeared to me quickly ater I entered Wesleyan University's composition program and gained an exposure to the variety o musical styles that the students present here. However, the clear idea or the piece ormulated ater the irst time I got exposed to khoomei (overtone singing). I came across the style or the irst time through an interaction with Andrew Colwell, a doctoral student in the Wesleyan ethnomusicology program. He became luent in singing khoomei ater a two-year residency in Mongolia. My irst encounter was when Andrew taught it to me in an inormal tutorial session. Thus, the irst time I heard overtone singing was live and through the process o trying to do it mysel. When I started to be able to imitate the style (to some degree) and inally emphasized an overtone, I became interested in various artists rom Mongolia and Tuva and became quite ond o their music. I decided that the piece I would write would be a kind o song or an overtone singer and an ensemble o non-western instruments that I labeled as a world music ensemble. Shortly ater that I approached Andrew, asking i he would be interested in participating in the project. He agreed. Since the piece was shaping as a solo eature or the overtone singer, I decided to give his part a air amount o reedom. Various passages are oten indicated by verbal instructions that speciy the range o the overtone spectrum and an indication o the density appropriate or the passage (ig. 1). The listening I did rom Andrew's recommendations 41

45 helped to guide my imagination or the type o music that the improvised passages would contain. With that in mind, I created the ensemble parts in those overtone singer-eatured sections as an extremely simple accompaniment that helped sustain the overtone singer's pedal tone with occasional ornamentation. The overtone singer's part is the most eatured, and the least speciied o all o the ensemble parts, and, consequently, the most congruent with the original conception o the piece. With the vague character o the speciications that guide the improvisation, the overtone singer's perormance practice becomes the element that controls much o the overall musical material in the sections where it is eatured (3:50''-4:35'', 4:35''- 5:20'', 5:20''-6:05'', 6:05''-7:00'', 8:04''-8:28'', 8:29''-8:39''). ig. 1 (an example o an improvised passage eaturing the overtone singer, 3:50''-4:35'') A contrasting section appears in the passage rom 7:20'' to 8:00'' where the overtone singer's part is in unison with the steel pans with the pan player cueing each note in the passage (ig. 2). This is the only time another instrument is in control o the overtone singer's musical material. However, even in this section the overtone singer is still the eatured voice singing in very powerul xarxiraa style multiplied dynamically by singing into the microphone through cupped hands An explanation o xarxiraa in the perormance notes o the score. 42

46 Fig. 2 (Ovrt. Sing. and st. pans duo, 7:20''-8:04''). Further passages o the overtone singer's part include the improvised eatured sections similar to the ones discussed above and a more speciically notated duo with the chapareke player (ig. 3). Fig. 3 (overtone singer and chapareke duo, 9:20''-9:50''). The duo section highlights the relationship o the overtone singer with the chapareke. In the other sections o the piece the chapareke mostly accompanied the overtone singer's part. In this one section the two voices clearly work as equals, which brings out their common 43

47 dependence upon the harmonic series as the source o all o their melodic possibilities. The chapareke. The relationship o the chapareke with my compositional process is somewhat special on a ew planes. I have learned to play the instrument mysel, so consequently I have some practical knowledge o its workings and possibilities. However, my initial encounter with the instrument and its cosmology was not through its original cultural background. I have learned about the chapareke rom my classmate Omar Fraire. Omar's connection to the instrument is as an artiact that was the ocus o the artistic project called Chapareke Hidrocálido that he developed with his riend and colleague Rolando Lopez. 64 Thereore, my understanding and inluence o the musical material I realized or the chapareke was navigated through my amiliarity with Omar's and Roland's work, which itsel appropriates and recontextualizes this instrument. That relationship created an interesting dynamic in the context o the cultural appropriation o the chapareke in Village o Control. Chapareke Hidrocálido is a project hosted at Guggenheim Aguascalientes, a ictional museum created by Lopez on the toxic waste dump in Aguascalientes in Mexico, where the metal oundry o Solomon Guggenheim used to reside. Researching the historical linguistic habits o Aguascalientes people, Lopez ound a passage in literature that lead to the creation o Chapareke Hidrocálido. The passage describes an encounter o journalist Fructuoso Lopez 64 Fraire, Omar. Chapareke Hidrocálido. From ethnography to art: A collaborative with Guggenheim Aguascalientes Museum. whitguggenheimaguascalientesmuseum.pd

48 (who wrote articles against the bad treatment o the oundry's workers) with a peasant who played an instrument that rom the description appeared similar to the chapareke. The sound was produced by plucking the strings and modulating the tone with the mouth. 65 The body o the instrument that Fraire and Lopez made was carved out o the root o a tree that was cut down by the Mexican government to make room or an extension avenue intended to be built there out o the oundry's toxic waste. 66 This orm o the chapareke is contrasted with the traditional chapareke made rom the dried stem o a maguey lower. My process o thinking about how the chapareke was going to it into the soundworld o Village o Control was shaped by my experiments with the instrument and were inluenced by its development in the context o Chapareke Hidrocálido. Further, the musical content o the chapareke in the context o my piece is meant to work in direct correlation with the overtone singer's part as well as the nature o overtone singing as it is. Thus my decision to use the violin bow throughout the piece; bowing provides the sustained drone sound coming rom the chapareke string that serves as the pedal tone rom which the overtone series melodies are created just like in overtone singing. Naturally then, the main string o the chapareke is tuned to the undamental note o the overtone singer. The majority o the passages contain sustaining that undamental tone and making melodies out o the overtone series in more or less speciied ways (ig. 4). My notation or the chapareke in a way resembles tabulature as it speciies the movement o the mouth in relation with the production o the overtones resulting rom the string tuned in dependence with the overtone singer (and ultimately with the speciic pitch o gong Ageng in the gamelan). The two sta 65 Ibid., Ibid.,

49 lines represent the two strings needed to execute the piece. In the sense o speciying the action produced on the instrument, my notation resembles Fraires, however it's not nearly as speciic as his in the aspects o perormance practice other than the production o the overtones. Fig. 4 (an example o the chapareke passage, 0:25''-0:55''). Examples rom the piece that involve techniques other than regular bowing include: overpressure bowing technique, traditional plucking technique, and tremolo scrubs on the string with a threaded metal rod (ig. 5). The chapareke is ampliied throughout the piece using a miniature condenser microphone (the chapareke micing technique developed by Fraire). Fig. 5 (overpressure, plucking, tremolo with the rod, 0:24'', 3:15'', 6:50'') The development o the extended techniques in the chapareke part, and the general approach to the possibilities o its sound production is in dialogue with the speciic musical material being generated in accordance with the overtone singer's part. Hence, the chapareke 46

50 part in Village o Control is governed exclusively by the cultural contexts outside o its origins yet with some correlations to the nature o its sound production as it is. The pipa. In contrast to with the chapareke and overtone singing, I was aware o the pipa and some o its heritage beore arriving at Wesleyan. It was here though where I met Wan Yeung, an experienced pipa player who entered Wesleyan's ethnomusicology graduate program the same year as I entered the composition program. My occasional exposures to his perormances made me aware o his perormance skills and inspired me to ask him i he would perorm in the piece to allow me to include pipa in its instrumentation. The creation o the part was governed by my observation o Wan's perormance practice as well as the listening to traditional pipa repertoire perormed by contemporary players. What I've learned rom my various conversations with Wan is that the pipa training in China is quite similar to Euro-American conservatory training. The training involves proiciency in reading Western notation, practicing techniques and amiliarity with Western classical music styles (Wan mentioned to me that this expectation extended to bel canto). Wan's teachers were all conservatory trained. What I learned rom his descriptions is that Chinese conservatories seem to adhere to the Western model even though they have elements o traditional Chinese music in their curricula. This is apparent in Wan's playing with its high technical skills, comort in the ensemble collaboration, high virtuosity and degree o practical unamiliarity with improvisation. In response, his part is more speciically notated than the other instrumental parts. Certain less speciic elements were also presented 47

51 with speciically notated examples to acilitate the learning process. One instance is in the passage rom 7:00'' to 7:20'', where the speciication repeat with variation was demonstrated with speciic examples included with the pipa part on a separate sheet o paper (ig. 6). Ater our brie conversation, Wan explained to me that improvisation and indeterminacy are not typical o pipa training, which I ound congruent with the classical training at Western conservatories where proiciency in reading sta notation is more highly regarded than proiciency in improvisation (except or perhaps the early music, organ and contemporary music studies). Fig. 6 (repeat with variations section as presented with speciic examples, 7:00''-7:20''). There are two basic gestural elements that shaped most o the pipa material in the piece that I observed through my listening to the pipa repertoire. The irst one is the extensive usage o repetition o a single note as means o sustaining the sound and creating a smooth legato-like phrasing or passages that proceed through a stream o long rhythmic values. An interesting aspect o this technique is that the repeated notes do not seem to adhere to the principal o tremolo oten being executed as ast as possible. Rather, the repetitions are countable and oten itting into larger beat structures in the metrically regular way. For example i a melodic line proceeds in hal notes (in the tempo o let's say quarter note = 120) it seems as a pipa player would oten play the passage in sixteenth notes repeating each hal note melodic pitch eight times. This, and other orms o repeated single note that I observed 48

52 in the listening became a catalyst or the extensive usage o metrically stable single note repetitions in the pipa part (that also inluenced its paired marimba part) (ig. 7). Fig. 7 (dierent ways o using the repeated note pattern in the pipa and marimba parts, 1:30''-2:00'', 3:50''-4:35'', 9:50''-9:56''). The second musical element I observed in my pipa repertoire listening is what Wan once called the signature pipa chord. It is a simple arpeggiated chord that relects the interval tuning o the instrument (4 th, maj 2 nd, 4 th ). The gesture I have heard many times rom dierent pipa pieces was an arpeggiated grace note at a loud dynamic leading to the strum o the ull chord providing a great sense o arrival and grounding in the musical material. I used this element in the same way: as a grounding and arrival gesture beore some o the phrases that included the extended overtone singing-eatured section (ig. 8). 49

53 Fig. 8 (the signature pipa chord in the context o the arrival at one o the overtone singer-eatured sections, 4:35''-5:20'') The elements o repeated notes and sharp, strong gestures have made the pipa part (and, to some degree, the marimba part as well) contrasting with the more luid overtone singer and chapareke pair. The pipa-marimba pair with its rhythmic liveliness, sharp timbre o tone production and equal temperament tuning provides an element o dialogue or the leading overtone singer-chapareke pair. However, the genealogy o how those pairs were created is somewhat similar. Each pair originated rom the observation o the traditional perormance practice and repertoire o the leading instrument (overtone singer in the irst pair, and pipa in the second pair) with the musical material o the secondary instrument o a pair being constructed in accordance with the leading one. 50

54 The marimba. Being a classically trained Western percussionist, I did not treat the marimba as a oreign element requiring musical or cultural studies. Having the practice o marimba playing embedded deeply in my musical training, I considered the instrument my own and consequently didn't give much thought to its cross-cultural role in the piece. I based its musical material entirely upon the musical relationships with other ensemble parts. As previously mentioned, the pointillist nature o marimba's sound production and its inability to naturally sustain sound was the reason to pair it with the pipa material. Both instruments share that similarity o sound production and equal tempered tuning. Their pairing would allow equal temperament to be separated rom the unequal tuning systems o the rest o the ensemble. The marimba shares the musical material with pipa in every instance except the extended overtone singer-eatured sections where it provides a drone o a doubled perect ith with the lower pitch being the undamental note o the used overtone series. The drone helps to sustain the undamental note and covers the discontinuity in the cases where the singer needs to take a breath. Further, the perect iths enrich the underlying sound o the harmonic structure as they make the third partial appear in the drone instead o just the undamental note alone (ig. 9) 51

55 Fig. 9 (the usage o the marimba undamental and third partial drone, 3:50''-4:35''). The bass steel pans. The choice o the bass steel pans or the piece was a purely aesthetic one based on my previous practical encounters with this instrument. The opportunities I had to briely examine its sound qualities made me ond o its unusual metallic bass sound with the pitch speciicity being oten ambiguous. I have had the sound in mind or a while, and decided that it would be a good opportunity to use it. The background o the instrument its with the idea o using the non-western music ensemble or the piece but because the sound qualities were the only aspect o it I was interested in exploring, my knowledge o its cultural background remained minuscule. Similarly to the marimba, I treated steel drums with the correspondence to their assimilation with the Western percussion world where they appear every once in a while. An interesting example o such appearance in Western music is in the seventh movement o the orchestral version o Notations by Pierre Boulez. I had a privilege to perorm the steel drum part as a member o the Lucerne Festival Academy Orchestra on a concert during the Lucerne Festival 52

56 in the summer My encounter with the instrument in this particular setting provoked my later attitude towards it as a member o the Western percussion assembly. The large portion o the steel drum part consists o the reinorcement o the sense o arrival in the overtone singer-eatured sections. Those parts include the struck down beat note on the pitch o the undamental with occasional reely-pitched alling igures that lead to it (ig. 10). The two instances o dierent usage include the passage o disjunct single notes in the opening section o the piece (ig. 11) and the previously discussed short duo with the overtone singer (see ig. 2). Fig. 10 (alling igure with the arrival, 3:49''-3:50''). 53

57 Fig. 11 (disjunct single notes passage on the bass steel pans, 0:08''-0:20''). The gamelan. The usage o the gamelan similarly to steel pans was determined solely by its sound values. From my previous encounters with the gamelan I was especially drawn to the dark and ritualistic sound o the lowest gongs and the bell-like, reverberant sound o the gender. Hence, those are the gamelan instruments I used in Village o Control. The sound-ocused usage o the gamelan in the piece, just like with the example o steel pans, has created in me a lack o interest or the cultural inquiry o this instrument at the time I was writing the piece. Further, the simplicity o the musical material made it unnecessary to have a perormer with previous experience in the gamelan perormance practice or even with percussion playing per se. Thereore, I did not search or a perormer with any cultural or technical background in the gamelan music but rather I just asked a irst person that I thought would agree to realize the part. However, as with the steel pans cultural sensitivity was not a problem, the usage o gamelan created a set o cultural issues that arose ater the premiere o the piece. Unaware o the gamelan's cultural speciics, I guided my perormer to play the part in standing position to be more comortable in perormance. The suggestion arose rom my previous attempts to realize the part mysel as I was working on the piece. At the time I was not aware o the treatment o the gamelan set by the Javanese people as an object inherited by 54

58 supernatural power thus acquiring the nature o a kind o divinity. Hence, the playing position o standing over the instrument is here considered a great disrespect to its heritage. 67 Further, the musical material I used in the piece is o a loud nature, which is unitting with the calm character o the Javanese gamelan music (which I ound out rom my later conversation about the issue with Sumarsam). The treatment o the Javanese gamelan as Chinese gongs with the large gongs struck harshly could potentially be dangerous or the instrument as the Javanese gamelan gongs are made o a very thin steel. Sumarsam instructed me to use Balinese gamelan or the uture perormances o the piece as the nature o those instruments allows or the loud sound production with the Balinese music being o a much louder and harsher character to the Javanese. His suggestions together with the cultural background I gained ater the initial realization o the piece are now included in the perormance notes section in the score o the piece to avoid uture conlicts. Incidentally the musical nature o the gamelan in the piece is in a way congruent with some o the aspects o the traditional gamelan music. An example is the usage o the large gongs as indicators or the beginnings o new phrases that stress the points o arrival in the subsequent sections o the piece (ig. 12). Similarly, in traditional gamelan music the largest gongs mark the beginnings and endings o the longer gendhing sections and give the eeling o balance to the structure o the piece. 68 Perhaps the reason or such usage o the gamelan gongs on my part came rom my previous listening exposures to the Javanese gamelan music as well as the general nature o the large gongs that I think naturally provokes this kind o 67 Sumarsam. Introduction to Javanese Gamelan: notes or Music 451, Javanese gamelan-beginners. (Middletown, CT: Wesleyan University, 1988), Ibid.,

59 musical thinking. However, the largest gongs are not the only ones that mark the beginnings o the phrases in Village o Control. Occasionally this role is also given to the gender, which in that case is contrasting with the traditional usage o this instrument in the gamelan music. Fig. 12 (examples o the beginnings o the sections o the piece marked by gong suwukan and gender; beginning, 0:25''-0:55'', 0:55''-1:30'', 3:50''-4:35'', 7:00''-7:20'') Further musical usage o the gamelan includes occasional colloristic embellishments on gender (ig. 13). Fig. 13 (coloristic embellishments on gender, 4:35-5:19 ). Village o Control evolved considerably rom the inception o its original idea. Its universality was compromised by its means o delivery. Its musical global village Utopia 56

60 destroyed with the unharnessed hunger or controlling the musical material. Its diversity o inluences highlights the concept o knowledge versus ignorance that leads to the desire or even more control in the case o the ormer and potential cultural conlicts in the case o the later. Its cross-reerences between the instrumental parts remain a topic or discussion in the pursuit o the greater understanding o musical context and historical heritage that oten proves itsel as inescapable rom in one way or another. Cause there is no one like us and Scatter in the Sky: Guilty Pleasure Sel-Portraits Cause there is no one like us and Scatter in the Sky in contrast with Village o Control were created as sel-portraits. As previously discussed, the idea in the latter was to create a shared multicultural musical environment with reduced inluence o composer's ego on the overall musical outcome. A large amount o control was intended to be given to the perormers. Cause there is no one like us and Scatter in the Sky on the other hand were created solely with my own perormance pleasure in mind. Thereore, one could interpret these two pieces as a quite egocentric creations with the goal o sel-promotion in the pursuit o artistic reedom o expression with all o its noble and shameul inclinations. The two pieces share a set o similarities. Both are intended or drum-set and electronic sounds (with a small dierence that Cause there is no one like us uses a ixed media track and Scatter in the Sky uses live electronics). Both are loud and o a rather virtuosic character. Both are intended or mysel as a perormer thus they do not have a score 57

61 but only a simple set o verbal instructions that unction as guides or improvisation 69. Or no instructions at all. Both have roots in popular music. The reason or using popular music as the basis o the musical material originated, in both cases, rom my exploration o the concept o guilty pleasure listening. Guilty pleasure appeared as a popular term in late 1990s. The modern meaning o the term relates to the act o enjoyment without any pretense to ediication, which results in an activity that one takes pleasure in but knows they shouldn't. 70 Guilty pleasure oten reers to artiacts o mass culture such as genre novels, popular songs, action movies, soap operas and such. Generally the meaning o guilty pleasure resides in one's ailiation with certain class or community. An activity that resides within the aesthetic boundaries o the ailiated group is perceived as something in accordance with one's need to please their intellect. An activity that works against this established aesthetic code gains a label o a pleasure with an element o gratiication that one gets in spite o onesel, and not as a matter o a ree choice. 71 Thereore, the concept o guilty pleasure is dierent depending on one's background, geographical placement and historical context. Allan Bloom gives an example o this in his book The Closing o the American Mind in the chapter where he discusses the decreasing interest in classical music among the young generation: University students [o the 1950s] usually had some early emotive association with Beethoven, Chopin and Brahms...This was probably the only regularly recognizable class distinction between educated and uneducated in America. Many, or even most, o the young people o that generation also swung with 69 For the notes on how to perorm Scatter in the Sky see the appendix section. 70 Szalai, Jennier (2013) Against Guilty Pleasure. Page-Turner (The New Yorker) Ibid. 58

62 Benny Goodman, but with an element o sel-consciousness In the context o the two pieces o mine I'm discussing here, the term guilty pleasure (and my need to abolish it) has a ew roles in relationship with my nature as a musician. Those concepts are explored in these works in dierent ways. I'll now discuss the inluences and workings o both pieces in examining the concept o guilty pleasure embedded in each o them. Cause there is no one like us - disco polo and the concept o high culture. Cause there is no one like us in its original orm was a ixed media piece generated out o a sound ile o the song called Tacy jak my (the ones like us) by the group called Eect; a group that works within the genre o disco polo, an established genre o Polish popular dance music that irst appeared in the late 1980s. The sound track was manipulated in various ways with requency ilters, time stretching, reverb and granular synthesis. The overall eect is a broad stretched sound taken rom a short ragment o the sound track with the song's beat in its background slowly disappearing as the piece evolves. As the steady beat disappears, the disjunctive sound o granular synthesis processing takes over the whole musical content making the sound more and more scattered until the last section where it is stripped down to the short events separated by silence. The addition o the drum-set to the piece was secondary, and based on my aesthetic decision that the ixed media track was not interesting enough on its own, and needed an 72 Bloom, Allan. The Closing o the American Mind. (New York: Simon and Schuster, 1987),

63 element o live perormance. The structure o the drum-set part reverses the structure o the ixed media track. Where the ixed media track begins with a steady beat, the drum-set starts as the scattered events intended to imitate the granular synthesis material in the ixed media track at the end. As the beat o the ixed media track starts to disappear, the drum-set events start to acquire more and more steady rhythmic structure. When the beat in the ixed media disappears completely, the drummer moves rom the acoustic drum-set to a MIDI drum-set (or sampler) and continues to provide the synthesized beat that lasts until it's abruptly stopped the end o the piece. The reason or the usage o the MIDI drum samples is to create the point o return rom the acoustic beat to the synthesized beat that appears at the beginning o the ixed media track rom the original song by Eect. The impetus or creating Cause there is no one like us came directly rom the concept o guilty pleasure that resulted in my need to work with the genre o disco polo in some way. Disco polo, as a genre, is probably the most iconic and nation-wide example o guilty pleasure in the Polish culture. The genre itsel originated out o the vulgarized sub-genre o contemporary Polish olk music that is oten played at the wedding receptions (most requently in the rural areas o the country). The content o the lyrics o these olk songs is oten very simple, sexual and revolving around the topics o unulilled love, estivities, rural activities, customs and such. Disco polo added the grilling culture, tropical vacation, and more sex into the mix. Musically, disco polo uses some o the melodic speciicities o those olk songs with very simple harmonic structure, simple synthesized instrumental sounds and extremely simple dance-like rhythmic patterns. Over the years I noticed an interesting dynamic o disco polo with the musically 60

64 educated circles o people in Poland that I oten interact with during my visits there. I am certain that almost everyone rom the circle o riends and acquaintances that I spend time with could remember at least one instance where he or she would take pleasure in dancing to disco polo music (usually irst numbed by the extended consumption o alcoholic beverages). I know it as a act rom being a witness, and my own participation in various situations like that. Nevertheless, sober-minded some o these young musicians would ace a diiculty admitting that the whole situation took place. Further, they would never admit taking pleasure in this kind o music in any kind o proessional situation not only or the reason o being ashamed but also or the concern that it could potentially be harmul to their employment. The whole situation arises rom the deeply rooted and strictly policed ideology o high and low art in Polish culture, and the highly guarded assumption that an educated person should never get these two conused. This dichotomy is present in most (i not all) institutions o music education in Poland on every level (including elementary, middle, and high-school music education). Coming rom the background o the high culture I have been chased by this dichotomy rom a very early age, as my entire education rom age seven to twenty-ive was embedded in the Western music conservatory model irst in Poland and then in US colleges. 73 From my personal observations, I could conclude that this issue is more prominent in Polish music conservatories than in the US although the separation o classical music rom other genres is quite obvious in the US conservatories as well. When I was a student in the classical music programs at Eastman and Manhattan School o Music, I would oten observe among 73 In the Polish education there are public music schools on elementary, middle and high-school levels that adhere to the music conservatory model but provide music education together with the general education (with the program designed by the ministry o education similar the general education schools). 61

65 my classmates the attitude towards classical music as a orm o job or study subject rather than a genuine aesthetic ascination. They would oten ask me: what is the music that you normally listen to in reerring to the actual music that I take pleasure in listening to as opposed to the music I study or perorm, which apparently appears in conlict with the ormer. The years o attempts to it into this dichotomy as a creator o high art inluenced my musical outcome in a way that I oten tried to compose music against my nature as a musician and a person. The music that resulted rom this approach would oten leave me dissatisied aesthetically but ulilled intellectually. I associate that period o time with great increase in my musical understanding and development o my compositional crat. However, ater a while, I realized that this dichotomy exists and is aecting me in a way that it makes me eel my guilty pleasures. The need or my creative outcome to work against what I elt like I enjoyed the most but shouldn't, started to bother me. I started to eel as i I'm not one hundred percent artistically ree, and that my music is indeed compromised by this cultural dichotomy. Since then I became interested in disregarding these pre-established cultural associations in my musical endeavors in the pursuit o reeing mysel rom any guilty pleasures that would inluence my musical outcome against my nature. My attempts to examine the issue resulted in the interest to develop works such as Cause there is no one like us and Scatter in the Sky. 62

66 Scatter in the Sky - intimacy and a step out o the comort zone. Scatter in the Sky moves on rom Cause there is no-one like us to explore the concept o guilty pleasure within an active perormance. In Cause there is no-one like us, the guilty pleasure music o disco polo was integrated into the structure o the piece but my drum-set perormance remained independent rom the idiom o disco polo. I simply perormed a drumset solo in a style that I was comortable with, working with a ixed media track that I was also comortable with musically but that was based upon the exploration o the guilty pleasure genre o music. In the case o Scatter in the Sky, I begin the piece with singing a cheesy pop song that I composed (both music and the lyrics), which not only draws on the concept o my guilty pleasures but also exposes me as the one that makes it happen on stage. By being an active perormer o the genre that is my guilty pleasure, I put my signature on this style o music as my own honest identity, and expose it on stage. Scatter in the Sky works or me as a kind o immersion therapy to cure mysel o guilt and arrive at artistic reedom. The idea or the piece did not begin with the concept o stepping out o my comort zone as a perormer. It began simply as a drum-set improvisation session that I had during one o my practice sessions when I was working on a dierent piece o mine. I had a live electronics polyphonic pitchshit patch opened on my computer or that other piece, and I started exploring how my voice sounded through that electronic processing. Ater a while, I started experimenting with dierent sounds that my voice can make with the processing, and connecting them to drum-set solos in creating a sort o dialog o percussive voice-generated sounds with the drums. Ater a while I moved the microphone to the cymbal and had its sound electronically processed with the patch. I started hitting it with decreasing amount o 63

67 intensity, and listening to the rich sound that was resulting rom the processing, which then made or the material or the ending o the piece. Ater about three hours o drumming and experimenting with live electronics processing I inally arrived at some kind o orm that could exist as a inished composition. I have noticed though that there was still something missing. As I was listening to the sound o the struck cymbal with processing I quietly started to hum some pitches that would be pleasing to me in the blend with the sound o the cymbal. Then it occurred to me that i the voice is such an important element in the piece, why don't I integrate a song into the structure somehow. I searched youtube or a song that I'd like to use but I couldn't ind anything interesting. Thereore I decided to just go to the piano that was in the room, and come up with something mysel. As the song started to ormulate, I began wondering i I really should be doing this as I'm not a song writer and I should perhaps just adhere to the idea o appropriating one. Then it occurred to me that the song does not have to be good in the sense o displaying aesthetic judgment as it is not an autonomous composition but rather an element o a larger piece or drum-set and live electronics. Ater another hour, I composed a short song that I could sing with a simple chordal accompaniment on piano. I began wondering how I could appropriate this song into the structure o the piece in a way that it would make sense to me musically. Then I got an idea. What i I abandon the need or being a ormalist, and decide that what I do simply does not have to make sense to me? What i I instead just ocus on being honest and sincere with this piece? Then I realized that in order to do it, I should simply sing the song mysel, and stop pretending like it's somebody else that composed it. That idea became a big step out o my comort zone as both a perormer and composer and began an entirely new chapter in my 64

68 compositional work. Ater I inalized the piece (that same night), I elt a deep sense o satisaction with Scatter in the Sky both as a perormer and composer. At the moment o its creation, the piece certainly elt as i it was the best piece I have composed up until then. Nowadays, in retrospect, I see it as perhaps not the best but the most honest (especially that ater I thought o it, I couldn't even determine within which standard it would be the best). It was one o the irst times that I truly enjoyed perorming a piece o mine. I began wondering why that was the case because in the past the music I wrote could satisy me as a composer but I never enjoyed perorming it, and would always preer to hear others do it or me. As I think about this now, I realize that perhaps the reason was that I did something unexpected to mysel both as a composer and a perormer. In the previous times when I perormed my own music, the process o learning it was one o ighting boredom rather than making discoveries. My compositional work beore Scatter in the Sky would always involve a inalized unmovable set o instructions that I would hand to the perormers in orm o a score. When I handed those to another perormer, I was excited to hear what he or she is going to contribute to the music, always hoping that I would hear something unexpected and interesting. When I hand a inished score to mysel, however, I know all o the piece's musical workings beore I even start realizing it on the instrument. There is no room or anything unexpected as I already spent many hours creating the work and getting to know it musically on every level. Ater that, the process o learning the piece on the instrument becomes a mere physical act without anything that would be musically surprising, inormative, exciting or unexpected. For that reason I have always enjoyed perorming works o others much more than my own. 65

69 In the case o Scatter in the Sky, however, I surprised mysel on a ew planes. As a perormer I gave mysel an improvisational reedom within the pre-composed structure that resulted in the exploration o sounds in unexpected ways that are slightly dierent rom perormance to perormance, and thus keep me engaged and interested. Further, I also put mysel in a very uncomortable position o the singer o songs, which is a real challenge to my identity as a perormer. As a composer I created something deeply intuitive and honest without any conceptual and ormal constrains o my musical background. That approach opened up a whole new world o possibilities and made me eel ree and comortable with my music and what it can be i I take the uncompromised honesty as the only compositional constraint. Both Cause there is no one like us and Scatter in the Sky mean to me more than just another addition to my catalog o works. They both unction as important steps to urther my understanding o my identity as a musician and a person. Both are logical and progressing steps with the ormer being the irst and the latter being the second step. Both pieces opened a new chapter in my work that can potentially lead to the creation o a musical language that is interesting to me as both composer and perormer, which is something that has never happened beore. The Conclusion with J.S. Bach. Besides the previously discussed music (Rapport, Village o Control, Cause there is no-one like us, and Scatter in the Sky) Happy Hybrid included in its program the works o J.S. Bach. The concert had my transcription o Bach's E-minor lute suite that I 66

70 perormed on marimba but broken into three segments programmed between the other pieces. The irst segment was the second piece in the concert immediately ater Cause there is noone like us. It consisted o irst two movements o the suite Prelude and Presto, and Allemande. The second segment included Courante as a irst piece ater the intermission and immediately preceding Village o Control. The Sarabande, Bourree, and Gigue were played between the Village and Scatter in the Sky. The unction o the works o J.S. Bach could be interpreted in multiple ways, and I will examine some o these possible interpretations using them as the inal conclusion o this thesis. The works o J.S. Bach clearly provided contrast with every other piece o music that was presented that evening. First o all, they were the only works where my role was purely interpretative. The three pieces o mine I presented as a composer-perormer and, while Rapport was a work by somebody else, its nature o the open orm largely involved Omar Fraire and me working as composer/improvisers. The Bach pieces hold an unassailable position in the canon o Western Art Music and I certainly did not contribute to them as a composer in any way. The transcription rom lute (which was the original instrument to play this music on) was very straight orward as it is possible to perorm lute works on marimba exactly as they are without making any adjustments orced by the speciicity o the instrument. Because the works were perormed in a way that did not dier rom the classical perormance tradition, they unctioned in a special relationship with the other pieces in the program. On the one hand, in the moments they were presented, the Bach's works have altered the context o the concert. They added a clear element o classical Western music concert tradition with all o its historical and cultural baggage. On the other hand, their presence in between the hybridized pieces added another element o juxtaposition to the 67

71 structure o the entire concert making the whole program together appear in the ashion o sampling music or plunderphonics. From the various conversations I had with people who attended Happy Hybrid, I learned that the initial thought o deepening the level o hybridization and mash-up by addition o Bach's music was not perceived as just another layer o generic conusion. Rather some interpreted the repeated occurrences o Bach's music in the program as an element that sort o glued it together. I could gladly accept both interpretations as my intention to include Bach's music was neither to conuse the program nor to clariy it. My decision was driven simply by my personal taste and interest that comes out o my background as a classical perormer. The reasons or the Western classical music o the past to appear in all three o the Hybrid Recitals is exactly the same as why I thought o the idea o hybridity in the irst place: it is all there simply because I like it. Beore the idea or Hybrid Recitals came to my mind, I had some deeply rooted concerns that mixing genres, contexts, cultures and historical periods in music was a problematic issue, which could be received by some with a dose o skepticism. Then, I decided that I should not care about how the project is received but rather try to experiment with its possible issues and outcomes during my time at Wesleyan. Now, that I have perormed all three Hybrid Recitals, and did some research on the subject, I conclude that indeed the hybridization o genres is a problematic issue or some but or others it is not at all. All three concerts were generally well received (rom what I could read in people's reactions and thoughts). However, the issues o generic ambiguity, contextual instability, stylistic obscurity were surprisingly very problematic to some individuals o high intellectual and practical background in experimental music. I had to give thorough explanations about 68

72 the workings o my Hybrid Recitals, and provide reasons or why I'm doing what I'm doing to my ellow colleagues in the graduate music program. I also elt a strong push towards providing program notes or my concerts, which is something I deeply resent. Meanwhile people with no substantial background in experimental music who attended the concerts needed no explanation at all, and their interpretations o the program were surprisingly accurate and oten unexpected. Nobody needed program notes or the second perormance o the Hybrid Recital no. 1 that I did in Poland or the audience that included people trained in Western classical music, and some who were not at all trained in music. However, almost no member o that audience would have any background in experimental music tradition whatsoever. The reasons or such dichotomy remain unclear to me, and invite me to pursue them as a uture research interest. My understanding o the workings o Hybrid Recitals evolved greatly rom the initial orm in Hybrid Recital no. 1, through more thorough version in Happy Hybrid to the most reined version in Hybrid #3 Dance and Noise. The various workings that are included in the contextual and musical hybridity o these concerts still leave a lot to think about. However, the most important principle o hybridity in my music that I think is absolutely crucial to my musical identity, and to the success o any uture concerts like these is the same as it was at the very beginning o the project. It is, to me, as simple and plain as it can be, and really involves nothing more than my personal ascination towards musical diversity. 69

73 Reerences. Beebee, Thomas. The Ideology o Genre: a comprehensive study o generic instability. University Park, PA: Pennsylvania State University Press, 1994 Bentall, Robert. Methodologies o Genre Hybridisation. Organized Sound 21.2 (2016): Bloom, Allan. The Closing o the American Mind. New York: Simon and Schuster, Campbell, Patricia Shehan. Unsae suppositions? Cutting across cultures on questions o music's transmission. Music Education Research 3.2 (2001): Casey, Edward S. How to Get rom Space to Place in a Fairly Short Stretch o Time: Phenomenological Prolegomena. In Senses o Place by Steven Feld, Keith H. Basso, Seattle, Santa Fe, N.M: School o American Research Press, Clarke, Eric F. The Impact o Recording on Listening. Twentieth-century music 4.1 (2007): Fraire, Omar. Chapareke Hidrocálido. From ethnography to art: A collaborative with Guggenheim Aguascalientes Museum. tacollaborativeworkwhitguggenheimaguascalientesmuseum.pd Frow, John. Genre. New York, London: Routledge, Goehr, Lydia. The Imaginary Museum o Musical Works. New York, Oxord [England]: Clarendon Press, Oxord Scholarship Online, Oxord University Press, Hill, Andrew. Listening or Context: Interpretation, abstraction and the real. Organized Sound 22.1 (2017): Holt, Fabian. Genre in Popular Music. Chicago: University o Chicago Press, Kassabian, Anahid. Ubiquitous Listening: aect, attention and distributed subjectivity. Berkley: University o Caliornia Press, Kyr, Robert. Transorming Voices An Interview with Robert Morris. Morris, Robert Rapport Question. Message to Tomasz Arnold. Nov. 20,

74 Morris, Robert. Remembering Rapport. The Open Space Magazine (2011): Negus, Keith. Music Genres and Corporate Cultures. New York, London: Routledge, Norman, Katharine. Listening Together, Making Place. Organized Sound 17.3 (2012): Patterson, Emma E. Oral Transmission: A Marriage o Music, Language, Tradition, and Culture. Musical Oerings 6.1 (2015): Randel, Don Michael. The Harvard Dictionary o Music. 4th ed. Cambridge, Mass: Belknap Press o Harvard University Press, Sramek, Jordan. Seeking Common Ground through Oral Tradition. Biblical Theology Bulletin 43.4 (2013): Sorrell, Neil. A Guide to Gamelan. Portland, OR: Amadeus Press, Sterne, Jonathan. The Non-aggressive Music Deterrent. In Ubiquitous Musics: the everyday sounds that we don't always notice, edited by Marta Garcia Quinones, Anahid Kassabian, Elena Boschi, Burlington, VT, Farnham, Surrey, England: Ashgate popular and olk music series, Sumarsam. Introduction to Javanese Gamelan: notes or Music 451, Javanese gamelanbeginners. Middletown, CT: Wesleyan University, Szalai, Jennier (2013) Against Guilty Pleasure. Page-Turner (The New Yorker). Takemitsu, Toru. Toru Takemisu on Sawari. In Locating East Asia in Western Art Music edited by Yayoi Everett, Frederick Lau, Middletown, CT: Wesleyan University Press,

75 Appendix 1 Rapport, Score or the 1973 version:

76 [Figure 1. Here] D) O the two perormers, one controls the synthesizer and the mixing o the our tracks o the prerecorded tape(s); the other player controls the state o the tape delay system and spatial location o sound on verbal cues rom the irst player. The two players should be amiliar with electronic music equipment, have a though knowledge o the contents o the prerecorded tape(s) and these instructions, and a desire to project the spirit o Rapport (see inal notes). E) Over seventy excerpts o recorded musics rom an extremely wide spectrum o geographical areas and historical periods are to be ound on the prerecorded tapes(s). Some perhaps 10 percent o this music is already electronically altered via electronic music transormations 4 in order to provide connection with the electronic transormations that player one perorms in real time. F) Due to the dierences between electronic music synthesizers, systems, and equipment, a block diagram o the ideal synthesizer 5 or Rapport is given in igure 2. [Figure 2 here] Here I provide some comments o the use and unction o the various components in igure Some o the potentiometers in the block diagram may be passive (attenuators); they are shown by o in the block diagram.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4 Such as amplitude, requency and ring modulation, iltering, gating, and so orth. These are the same types o transormations that player one can use in live perormance, so these alterations o the source material can serve as models or what player one can electronically perorm. 5 Rapport was irst perormed at the Yale Electronic Studio using an ARP 2500 synthesizer.!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!3!

77 2. There is a 7 to 2 mixer in the synthesizer, not to be conused with the mixer used in the tape delay system. 3. OSC III s audio output requency modulated by OSC II. 4. OSC IV s output is connected to its control input to produce a variety o complex (possibly chaotic) waveorms. 5. The envelope generator may be triggered rom the keyboard or rom the sample and hold unit (clock (or pulse) output) or both. 6. The sequencer is set so that the speed o its clock is in the audio range ( Hz.) 7. The resonator is a voltage-controlled ilter (band pass) with a very high Q so that when a pulse is sent into its input, the ilter rings. The sample and hold unit may also control the resonator s F c. 8. Both the sample and hold and sequencer units may have their clocks requency modulated rom the random voltage source. 9. One the outputs on the 7 to 2 mixer sends the inal outputs o the tape(s) and the synthesizer into the reverberation unit and then into the tape delay system, the other output is sent directly into the tape delay system. 10. It can be seen rom igure 2 that there are three inputs to the inal 7 to 2 mixer. Mixer input 5 consists o the outputs o three oscillators, which may produce requency modulated or ring modulated sounds that may be iltered and/or ampliied with or without envelopes. The oscillators requencies may be controlled rom the keyboard, sequencer, or sample and hold unit. Mixer input 6 will produce vocal- and brass-type sounds as well as iltered white noise, depending on the settings o the ilter s F c and Q. (NB: F c control is usually set as low as possible so the input sound s entire audio spectrum will be iltered out except when the envelope generator or the sample and hold unit (momentarily) raises the F c.) Mixer input 7 contains the resonator mentioned above.!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!4!

78 As it is assumed that the synthesizer player has had experience with electronic music system, there is not need to urther explain the unctions o each o the synthesizer components. G) The components o the tape delay system are interconnected as indicated in the igure 3. [Figure 3 here] Tape is threaded rom the supply reel o T.R. 1 (tape recorder 1) 1 past its record/playback head and on to T.R. 2. The tape is then taken past T.R. 2 s record/playback head and onto its take-up reel. T.R. 1 is set in record mode and T.R. 2 is set in playback mode. When a sound is recorded on the tape at T.R. 1, it will travel on the tape to T.R. 2 s playback head, and, by virtue o the interconnections o equipment shown in igure 3, it will be rerecorded at T.R. 1. This process will occur continuously depending on the state o the tape delay system determined by the setting o pots 6 on the mixer. The time delay between reiterations o the sounds is dependent on the tape speed and distance between the two tape heads. In Rapport, the distance should be about 52 inches at 7! ips (or about 104 inches at 15 ips) in order to achieve a delay o about seven seconds. The 6 to 2 mixer should be set up as ollows: the six inputs are labeled 1 through 6, and the two outputs labeled 7 and 8; inputs 1, 3, and 5 lead to output 7, and inputs 2,4, and 6 lead to output 8. The output pots are set at equal optimum levels (maximum signal to noise ratio and minimum distortion). The output o the synthesizer (ater the addition o reverberation) is patched into both inputs 1 and 2. The output o track A o T.R. 2 is patched in to the inputs 3 and 4. Track B o T.R. 2 is patched into inputs 5 and 6. Mixer outputs 7 and 8 are sent into the inputs o track A and B o T. R. 1, respectively. As shown in igure 3, the stereo ampliier and speakers monitor the!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 6 Pots is an abbreviation or potentiometers (oten used as volume controls).!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!5!

79 outputs o track A and B o T.R. 1. A summary o the mixer s input/output coniguration is given in igure 4. [Figure 4 here] The maximum settings or each o the pots on the mixer should be registered and marked next to each pot. Once the output settings have been made (see above), mark each input pot at the place where a test signal produces an output amplitude equal to any other pot setting already determined. This setting is called the max input level. The settings o the playback levels o T.R. 1 and T.R. 2 respectively should be set so that when either pots 3, 4, 5, or 6 are at their maximum input level the re-recording o a sound on T.R. 1 (either track) rom T.R. 2 (either track) is one DB less than its initial recording level. 7 Once this has been done, the settings o outputs 7 and 8 and input/output settings on the tape recorders should remain unchanged. The next step is to reset pots 3, 4, 5, and 6 so that the reiterated sound is 5 DB less than its initial level. This marked on the pot and called the secondary input level. As a result, inputs 1 and 2 will have only a maximum input level, while the rest o the input pots will have two settings, maximum and secondary. H) There are sixteen basic states o the tape delay system. Each state has a dierent eect on the rerecording o sound in the system. Each state has a name, and when the synthesizer player desires a particular state in perormance, she calls or it by name. The graphs ound below describe each state; the mixer setting in each is similar in ormat to igure 4. On the next page, three symbols are used to indicate a pot.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7 This ensures that the tape delay system does not inadvertently produce positive eedback, increasing the amplitude o the signal on each reiteration. I set correctly, then when all pots are at their maximum input levels, a sound should be repeated at a level very slightly less than the previous level; thus, i the system is let alone, a sound will eventually die away, but only ater maybe 20 iterations.!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!6!

80 !! indicates a pot open to its maximum input level. " indicates a pot open to its secondary input level. # indicates a pot that is closed. The sixteen states are classiied into our Types. Type-I states: material entered into the system on either pot 1 or 2 or both will produce reiterations. Type-II states: material entering the system will be reiterated on only pot 1 or 2. The pot that will allow repeats is marked with an arrow. I the only the pot without the arrow is open, the state is said to be NULL (see below). Type-III states: Closing state, in which the reiterations are reduced or eliminated. Type-IV states: Panning states, which may be used in conjunction with the other states. In general, Type-I, -II, and -III states use pots 3 through 6, while Type-IV states use pots 1 and 2. In order to visually display what each state does, a graph o reiterations with respect to time one each mixer output track is given. The graph is explained under the states FULL and CROSS. It should be noted that or the purpose o explanation, the material entered at pots 1 and 2 is given a dierent letter, namely X and Y. 8!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 8 In perormance, the material rom the synthesizer entering the tape delay system on pots 1 and 2 may be identical.!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!7!

81 I) States o the Tape Delay System Type-I states name mixer settings graph: FULL!!!!!! tracks A: B: initial 1 st return 2 nd return X X+Y X+Y Y X+Y X+Y [X enters the system on track A, and Y enters on track B; both return on both tracks, etc.] name mixer settings graph: CROSS! #!!! # tracks initial 1 st return 2 nd return 3 rd return A: X Y X Y B: Y X Y X [X enters the system on track A, and Y enters on track B; on the irst return, X returns on track B and X on A; on the second return, Y returns on A and Y on B; these two returns alternate, etc.] name mixer settings graph: SIDES!! #! #! tracks A: B: initial 1 st return 2 nd return X X X Y Y Y JOIN A!!!! # # A: B: X Y X+Y X+Y JOIN B! # #!!! A: B: X Y X+Y X+Y!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!8!

82 Type-II states name mixer settings graph: SIDE A!!! #! # # tracks A: B: initial 1 st return 2 nd return X Y X X SIDE B! # #!! #! A: B: X Y Y Y A!!! #!! # A: B: X Y X X X X B! #!!! #! A: B: X Y Y Y Y Y ONCE A!! # #!! # A: B: X Y Y SIDE B!!!!! # # A: B: X Y X Note: i the pot (1 or 2) with the arrow above it is closed, the state is NULL. In NULL, there is no delay. For instance, here is the state graph o NULL SIDE A. Since pot 1 is closed the X material is silence and thereore not written on the graph. name mixer settings graph: SIDE A! #! #! # # tracks A: B: Y initial 1 st return 2 nd return!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!9!

83 Type-III states. FLOAT Slowly turn pots 3, 4, 5, and/or 6 to their secondary input levels. The ollowing mixer setting shows CROSS ater being eected by FLOAT! # "! " # CLEAR Gradually turn all pots 3, 4, 5, and 6 to zero (o). Type IV states. In the previous state graphs, the sounds entering the system via pots 1 and 2 were given dierent labels, X and Y. In actuality, the material entering at pots 1 and 2 is identical. Type-IV states allow the material entering the system to be dierentiated depending on the relative levels o the two pots. This can be either static (where the two pots are equal or not possibly yielding a NULL state or dynamic, where each pot changes gain independently according to the actions o the tape delay system player. When this is made to happen, the sound entering the system will appear to move between the two speakers. Thus, Type-IV states involve dynamically changing the special location o the sounds emanating rom the synthesizer and the prerecorded tape(s). PAN NOW The tape delay system player starts panning between the let and right speakers. First, the synthesizer player calls out the word PAN; but the tape delay system player starts the panning only on the word NOW. 9!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 9 This allows the tape delay player to be ready to pan and to allow the synthesizer player to call the word NOW at a particularly salient or dramatic moment.!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!:!

84 Here are the eight successive stages in the state PAN NOW using pots 1 and 2. The pots are continuously changed to move rom one stage to the next usually in the ollowing order (or the retrograde) wrapping around rom the last stage back to the irst.!!!!! " # "! " # "!!!! SLOW PAN NOW This state is similar to PAN NOW except the panning should be rather slow and smooth. STABLE Stop panning very soon ater the command. The levels o pots 1 and 2 may be at any level between o and the maximum input level. It is important to understand the type o panning perormed by the tape delay system player is not to be mechanical, but to ollow the low o the music as he hears it. Panning might not use the o level, so it might substitute a low level or the # pot levels in the above diagram, or it might use only the! and " pot levels as below!!! "! "!!!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!;<!

85 In act, occasionally the panning might not be so regular, moving between dierent pot levels and at dierent rates as the synthesizer player desires. But, the more usual regular panning (with some mild variations) should prevail. A chart (list) o all the tape delay system states is included in these notes or the players to use during perormance. J) Perorming Rapport: The synthesizer player is basically in control o the orm (or low) o the piece. She plays the synthesizer, mixes the electronic sound with any or all o the our tracks o the prerecorded tape(s), and tells the tape delay system player what state is to be used and when. The tape delay system player has a more limited reedom as she pans and times the change rom state to another, These roles are subject to the ollowing conditions and guidelines. 1. The piece lasts slightly longer than the prerecorded tapes about 30 minutes 2. Rapport begins with at least the track on the prerecorded tape that contains a traditional south Indian composition in Thodi raga, played on the vina. 10 The volume level should be ull with some reverberation added. The irst state should be CROSS. The other tracks may be brought soon enough in various combinations and levels. Ater this opening, all is ree until the end o the piece within the range o suggestions given in 4. and 5. below. 3. The very end o the piece ocuses or zones in on the track o the prerecorded tape containing south Indian classical vocal music. 11 (Any reiterations o the previous musical abric may be retained, o course.) The delay state should be CROSS then CLEAR. 4. The electronic sounds used in Rapport should not oten assume a oreground role in the ongoing process o the piece. Their unction is to produce an environment!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 10 The composition is Kaduna variki by Tyagaraja played by K. N. Naranyanaswami. 11 This is an alapana in raga Shankarabharana, sung by M. S. Subbulakshmi=!!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!;;!

86 or the prerecorded material, but not just to accompany it. Thus, the electronic sounds may sustain, imitate, embellish, contrast, neutralize, complement, etc. the music on the prerecorded tape. Exact imitation o the recorded material by the synthesizer player should be undertaken careully so that these synthesized sounds (in their simplicity) do not weaken the character o the prerecorded music. Due to the presence o the tape delay system, the introduction o electronic music may be quite sparse and yet a ull sound will easily be built up by the system. The same goes or the use o the tracks o the prerecorded tape(s); not all the tracks need be used at once or at peak volumes, and sometimes no prerecorded music need be introduced into the piece. This means that a good deal o the music on the tape(s) may not be used in a particular perormance o Rapport. Electronic sound may be used to provide continuity and contrast when there is no or little prerecorded sound in the mix. In this way, drones, chords, canons, textures, imitations, etc. are easily built up by the state o the delay system. Indeed, a successul perormance o Rapport involves subtle and dynamic mixtures o the our tracks o prerecorded material and the electronic sounds at diering and changing dynamic levels occasionally with requent changes o the states o the delay system. 5. Rapport is an open, spacious, ongoing process composition whose details will be quite dierent rom one perormance to another. Its orm or low may be likened to the ugue or ricercar with its series o exposition and episodes. The piece will tend to have passages o our unctions: accumulations; preservations (FLOAT is a useul state or this unction); decays; and moments o repose even silence (ater a CLEAR state). In general, the recorded music and electronic sound are entered into the tape delay system in order to develop, or lack o a better word, a time ield. A time ield may be extended and changed by the change o a state o the delay system and/or the introduction o new sounds and materials. The amount o time spent in a time ield is, o course, ree, but usually three iterations (3 times 7 = 21 seconds) are need or a time ield to ully develop. The piece may remain in the CLEAR or ONCE A or ONCE B state, as well as the NULL states or reasons o contrast.!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!;3!

87 K) Final note: The roles o both players are to combine, embellish, extend, contrast, transorm, accompany, and complement the prerecorded music. To accomplish this successully depends on their skills, knowledge, intuition, taste, and humility in regard to musical expression in general and the music on the tapes in particular. The ultimate goal is to present the range o similarities and diversities o music as a musical expression as such.!"##$%&"!#$%&'()&*+$!,+'!-.',+'/0$).!102.!;4!

88 4-track tape deck 2-track tape deck 2-track tape deck out to A to B to C to D out to A to B out to C to D A B C D in synthesizer reverb unit out in out. tape in delay system out stereo amp in out Figure 1. Coniguration o electronic equipment needed to perorm Rapport. loud speakers

89 (rom tape deck(s)) A B C D (sub audio) VCO. white noise random voltage (mono) keyboard. pulse sample and hold. clock req. control voltage. (audio) VCO II clock (pulse). control voltage sine saw. (audio) VCO I.. sine sq. ring mod. VCF (low pass) VCA (lin.) (audio) VCO III sine (audio) VCO IV. saw. sq. white noise env. gen.. VCF (low pass) Resonator (band pass)..... Figure 2. Block diagram o synthesizer interconnections. indicates a pot. NB. The reverb unit may or not be part o the synthesizer. in out to 2 mixer (all 7 inputs go to both outputs) reverb unit. (to tape delay system)

90 in track B in track A to stereo amp and speakers tape.. T.R. 1 T.R. 2 (record mode) (playback mode) (7) out (8) out 6 to 2 mixer in (3 and 4) in (5 and 6) in (1 and 2). rom synthesizer Figure 3. The tape delay system. B track out A track out

91 in rom synth rom synth. rom T.R. 2 track A rom T.R. 2 track A rom T.R. 2 track B rom T.R. 2 track B to T.R. 1 track A to T.R. 1 track B out Figure 4. Tape delay system mixer coniguration

92 Rapport 2012 version:

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111 on Rapport rom Robert Morris: Hi Tomek, Here's my take on your question. See below. Hi Bob, Thanks or your input about the perormance! Also, as I'll be writing about Rapport as part o my thesis, I hope you don't mind me trying to steal a little bit more o your time and sometimes send you a question along the way?! I'll be glad to help, although my reply might have to be delayed (as was this one) i I'm really busy. Recently I've been wondering about one thing ater reading your essay again: are the solutions you ound or realizing Rapport ully satisactory or resolving the dilemma about your eorts to connect your music with other musical cultures being ethnocentric or a orm o colonialism? It's a kind o problem I ace too, as I'm interested in cultural appropriation in my music. Right now I'm trying to conceptualize i it is actually possible or me (or or anyone) to appropriate without it becoming colonialism, and how. It would be very interesting to hear what you think about all that in more detail or i there are readings you would recommend or me to check out. The issue is somewhat reduced i you do reality checks with the musicians with whom you collaborate, or whose music you use in your own work. So i I use a shenai recording in my work, i the player who made the recording approves, or doesn't care, or is happy about it i his/her name is mentioned in notes, or receives payment, then it is OK. But there is the problem is that the player may not understand the use to which you put his/her music or instance, you might get a lot o admiration and credit or using his/music, whereas her/his role in the exchange is not so valued (that is, ignored). There are etic and emic aspects o this exchange stu, upon which the possibilities o covert colonialism is disguised. (In any case, i you think you are entitled to use someone else's music in your own, your are deinitely implicated in some orm o colonialism; but see below.) In my case, I do not credit each perormer on the source iles in my notes on the piece, or at a perormance o the piece, so I am guilty o using music without exchanging something or it. I worried a lot about this until I saw that perormers rom other traditions use western music or their own purposes without asking, too. More pertinently, in my interactions with Indian musicians, they get recognition because a western musician/scholar is involved in their music, so the beneit goes both ways. But I really didn't eel OK about such exchanges until I had gone to India and lived in that musical culture and got a eel or Indian music making as it is actually practiced there. I.e., I got "street cred".

112 But even the concept o experimentation in new music may be tainted with colonialism, in the image o "explorers" discovering "new worlds" which are misunderstood as places to be conquered or cultivated, paying no attention to those who live in such places. In other words, there is no general way out o the dilemma that "borrowing" music (without credit or exchange) is actually stealing it. However, there is "homage." I I quote a passage rom Beethoven in one o my pieces, I do not need Beethoven's OK (not only because I cannot get it since he is dead), but because as a Western composer I have a sort o license to borrow music it i do it with respect. And in other cultures, when a perormer has studied with a master teacher (guru) or some time, there is a bond that is not broken by playing music in the master's style without mentioning it in act, playing music not in that style may be seen as transgressing that bond. Contrast this with the issues o plagiarism in western scholarship, where all uses o other peoples research must be acknowledged up ront in ootnotes and the like. Here it is Ok to use material without the author's permission, but only i one gives credit where credit is due. So, in general, the issues o colonialism are diminished within the intersections and acculturations o cultures, once certain practices are shared and evolved. But ater my Acculturation Trilogy (which was initiated by Rapport) I returned to writing "Western" music, but with a realization that dierent musics can inluence each other not only by quotation and borrowing, but in conceptional, aesthetic, and conceptual modes and ways. So some o my recent work is in the spirit o Japanese painting or poetry, or relects the world views o Buddhist art, such as in the concept o mandalas (mimesis), or in the "lowing" worldviews o Taoist sages, or in the concepts o no-sel in Madhadyamika Buddhist philosophy where anything that appears to have identity is actually an algorithm. For instance, my outdoor music is not very "Western" at all, but resonates with those traditions that value nature as process, not as something to plunder, as in especially colonial western practices. I also realize that you talk about electronics providing a "place" or dierent musical cultures to coexist peaceully and I understand that concept but, I think it could also be easily argued that technological abilities do not provide means o justiication or removing the sound source orm its origin without irst owning the rights or it. Also, do you think that concept changes with the excess o technological abilities nowadays? The use o electronic or computer technology, which can take any music out o its perormance and cultural setting into a perhaps neutral space only really works i the music used is not identiied as "rom a culture," but as music sound in its own right. But again one must check i this is OK with the people who made this music that you are putting in this neutral place. In the case o Rapport, the "composition" is what I call a meta-composition, that is: a collection o rules, materials, technologies, and practices that produce compositions or improvisational results. So Rapport is not something one can own in the same way I own a composition o mine notated in a score. And moreover, Rapport's success depends not only on its conceptually base as conigured in its rules, materials, technologies, and practices, but on the people who use it to make a piece or improvisation. Considering the source music on the sound-iles rom this perspective means that i an Indian musician plays Rapport, then there will be some music rom his/her tradition on the source iles, just as when you or I play

113 Rapport, where is there is some new music on the source iles. Also, when this Indian person plays Rapport his/her (traditional and practiced) way o hearing and playing will guide the piece dierently rom when you or I play it. So by letting anyone play the piece, I as composer, am permitting Rapport to have eatures that derive rom the musical practices that the pieces on the sound-iles represent as embodied by the perormer. I hope this is useul to you.

114 Tomasz Arnold Village o Contol For Overtone Singer and World Music Ensemble

115 Perormance notes: Instrumentation: Male overtone singer (Khoomei) Chapareke Rarámuri Pipa Marimba Steel pans (six bass) Gamelan (Gong Ageng, Gong Suwukan, Gender) Electronic equipment: Two dynamic mics or pipa and the singer. One miniature cardioid condenser mic. or chapareke. Mixer (digital mixer with compressor is recommended to avoid possible eedback rom the chapareke input). 2 channels PA Optional pair o cardioid mics i Javanese Gamelan is used. Set-up: The pitch material in the piece is generated spectrally in accordance with the undamental note used by the overtone singer. However, the undamental (and consequently all o the relative pitch material in the piece) can change rom perormance to perormance depending on the tuning o the available Gamelan set. The undamental should relect the number 1 on the Pelog or Slendro scale o the used Gamelan. The ollowing score relects the tuning o the Gamelan set rom Wesleyan University. A transposed version o the score can be provided by the composer upon request to it the speciicity o the Gamelan set to be used by the perormers. The placement o ensemble is as ollows: Notation (global): Working with a stopwatch is necessary or perormance. Sections are timed, with general timing indicated by the large markings. The time points at the end o each section (separated by the dashed bar line) are indicated by the smaller time marks within brackets. The passages occurring in reerence to speciic points in time are marked with the smallest ont above the stave. Passages without speciic timing are marked with Timing ad lib.

116 indication, in which case the perormer makes the decission o when to play in reerence to the other ensemble parts and the general timing o the section. Continue playing indicated sound until the end o arrow. Continue playing indicated group o sounds until the end o the large arrow. The points o exact synchronization are indicated by the vertical dashed arrows. Stop the sound and mule the resonance. Instrument-speciic instructions: Overtone singer: The part requires a male overtone singer luent in the Khoomei style o singing. The three styles o overtone singing used in the piece are: Khoomei (regular open voice technique with tongue down), Isgeree (the whistle style, a pure tone whistle drone executed by the tongue touching the upper part o the mouth muling the sound), and Xarxiraa (produced with less vocal tension, resulting in a rough sound and extending the lengh o the requency wave 2 times that results in a subtone). Throughout the piece Khoomei is indicated with regular shaped notes, Isgeree with diamondshaped and Xarxira with square-shaped. Khoomei Isgeree Xarxiraa *1 The line indicates the mouth movement. The bending indicates the opening and closing o player's mouth resulting in the change o harmonics. The numbers above the line reer to the numbers o partials o the overtone series, and indicate which partial should be heard at each speciic moment. *2 Improvise the melodic lines on overtones as suggested with the line beore. Use the ull available spectrum o overtones and keep the improvisation low in density. The melodic lines should be moving rather slowly.

117 *3 Gliss rom B to Db using Xarxiraa technique, and then gradually transition rom Xarxiraa to Khoomei. *4 Make a cup out o your hands and wrap the microphone with them. Sing into your hands producing more volume. *5 I the note is outside the singer's range, it can be sang an octave lower (like previously) Chapareke: The Chapareke is an indigenous instrument o the Rarámuri people who inhabit areas o Coper Canyon in Chihuahua state o Mexico. The body o chapareke is a stick made out o a dried stem o Maguey lower (Quiote). The strings (usually 2 or 3) are stretched rom one side o the stick to the other and can be tuned to a deined pitch. The range o the strings vary depending on the instrument. Originally Rarámuris used gut strings but nowadays the most popular are metal guitar strings. The Chapareke is to be held in one hand leaving the other to pluck or bow the strings. (Plucking technique is the authentic way o playing the instrument, however, the piece requires the usage o violin bow most o the time). The player's mouth is to be placed on the stick towards the top o the strings providing a resonant chamber, which results in the audibility o strings' overtone series rom approximately 4 th to 8 th partial. The partials can be changed with the lip movement resulting in melodic lines o the overtone series. Antonio Camilo one o the last known Rarámuri chapareke players. Because o the low dynamic range and subtle audibility o overtones, the instrument needs to be ampliied or the piece. A miniature cardioid microphone is to be placed at the mouth spot (similar to lute miking). The microphone needs to be completely covered by the player's mouth to pick up the overtone series most eectively. The gain needs to be high (just a notch below the eedback point). The player and the sound engineer need to be cautious o eedback and distortion. Feedback will most likely occurre

118 in the loud bowed moments (or example in min. 1:30) and distortion in the plucked section (3:15 to 3:35). The digital mixer with compressor is recommended or that reason. *1 The notation is similar to tabulature. The two lines represent the two strings o the chapareke that are used. The main string needs to be tuned to the undamental pitch o the piece (Db in the case o this score) within one octave below middle C. The second string is to be used or noise extended techniques, so its tuning is irrelevant. The separate string or extended techniques is to avoid detuning o the main string as the extended techniques oten require high bow pressure that might lower the string's pitch during the course o the piece. However, it is still possible to execute the piece i the available chapareke has only one string. *2 Scratch tone. Mule the string on both sides o the bowed spot to disallow the deined pitch. Use your hand that holds the instrument to mule one side o the playing spot and your ingers o the other hand to mule the other. Apply high bow pressure (just like the overpressure technique on string instruments). The resulting sound should be the low requency noisy scratch o an undeined pitch. The gesture should start with the slow bow movement and increase the speed towards the end. *3 The line indicates the mouth movement. The bending indicates the opening and closing o the player's mouth resulting in the change o harmonics. The numbers above the line reer to the numbers o partials o the overtone series, and indicate which partial should be heard at the speciic moment. *4 Tremolo on the string with a threaded rod. Increase the speed o the tremolo together with the dynamics. Pipa: The recommended tuning o the instrument is A D Eb A. Although it is possible to perorm the piece using regular pipa tuning, the perormer is advised to tune the E string hal step down as it will help to execute some o the passages starting at minute 7. *1 The pitches or the passage are to be chosen rom the scale and register as indicated by the small notes in parenthesis. The passage lasts or the amount o time indicated between the beginning and ending o the bracket. Within that time rame, the perormer plays three instances o repeated 4- note igures. Each o the igures represent one reely chosen pitch repeated 4 times. The number o notes within the igure has to be exactly 4 and cannot occur more than three times. The perormer chooses reely when to play the igures within the timerame while keeping it relative to the marimba part in dialogue. The tempo o the repeated notes is relative to approximately quarter note = 160. *2 Same as above with the ollowing exceptions: the amount o notes varies rom 4 to 8 and should be dierent with every new igure. The igures in dialogue with marimba are not always separated rom each other as previously but are varied and can overlap. The gap between each igure and the amount o notes should be as varied as possible. The passage continues until 3:15. *3 Similar to beore. The number o repeated notes is varied rom 4 to 8. The igure is to be executed no more and no less than 5 times. The timing is completely ree within the 3:50 to 4:35 section.

119 *4 Same as beore except this time only our 4-note igures. *5 Tremolo with Jiaosixian technique. Twist all 4 strings in pairs and pluck continously rom mezzo piano to ortissimo. Bring the strings to normal position as ast as possible or the passage at minute 7. *6 The passage is generally to be executed as ast as possible. However, during the subsequent repeats the perormer should vary the tempo slightly speeding up and slowing down within each repetition. The order and occurrence o the notes within the passage should be slightly varied with each repeat. No two repeats should be exactly the same. The passage can be extended or shortened and groups o notes can be interchanged and repeated at will, but the overall arc o alling and rising is to be kept within each repeat. The passage should never rhythmically align with the marimba. *7 The passage should not allign rhythmically with the marimba. Similarly in 8:39, 8:46 and 9:10. Marimba: Five octave concert western marimba is needed or the part. Mallets need to be careully chosen or the section between 3:50 and 9:20 as there is no time to change them or the high register passage at min. 7 rom the low register tremolo occurring beore. Two-tone mallets are recommended or that section to allow the low register to be as resonant as possible while keeping clean projection and loud dynamic o the ast ortissimo passages rom minute 7. *1 The pitches or the passage are to be chosen rom the scale and register as indicated by the small notes in parenthesis. The passage lasts or the amount o time indicated between the beginning and ending o the bracket. Within that time rame, the perormer plays two instances o repeated 4- note igures. Each o the igures represent one reely chosen pitch repeated 4 times. The number o notes within the igure has to be exactly 4 and cannot occur more than two times. The perormer chooses reely when to play the igures within the time rame while keeping it relative to the pipa part in dialogue. The tempo o the repeated notes is relative to approximately quarter note = 160. *2 Same as above with the ollowing exceptions: the amount o notes varies rom 4 to 8 and should be dierent with every new igure. The igures in dialogue with pipa are not always separated rom each other as previously but are varied and can overlap. The gap between each igure and the amount o notes should be as varied as possible. The passage continues until 3:15. *3 The passage is generally to be executed as ast as possible. However, during the subsequent repeats the perormer should vary the tempo slightly speeding up and slowing down within each repetition. The order and occurrence o the notes within the passage should be slightly varied with each repeat. No two repeats should be exactly the same. The passage can be extended or shortened and groups o notes can be interchanged and repeated at will, but the overall arc o alling and rising is to be kept within each repeat. The passage should never rhythmically align with the pipa. *4 The passage should not align rhythmically with the pipa. Similarly in 8:39, 8:46 and 9:10.

120 X Bass steel pans: The six bass set-up is to be used or this part. Bass steel pan mallets are recommended. The instruments are to be arranged in accordance with the perormer's preerence. All six bass steel pans are recommended but i not available, the part can be executed with any number o instruments starting rom 3. *1 When pitch is not speciied, the perormer can choose reely within the scale indicated by the small notes in parenthesis. *2 Freely chosen pitches. The passage lasts or the exact amount o time indicated between the beginning and ending o the bracket. The number o notes as well as the overall contour o the passage needs to be executed as written. *3 Single stroke tremolo. *4 Alternate between long (A) and short (B) notes. The length o the long notes as well as the amount o space between each note should vary constantly rom approximately hal a second to 2 seconds. Short notes should be muled immediately ater the note is struck. Cue the singer as you're playing as the passage is in unison with him. Gamelan: The Balinese Gamelan is recommended or the realization o the piece because o the loud dynamics and Gender part requiring hard mallets. The thick metal o the Balinese instruments allows the player to achieve loud dynamics without the danger o hurting the instrument. Moreover, the nature o Balinese Gamelan music (that oten makes use o hard mallets on Genders and loud dynamics in general) makes the part culturally more appropriate than in the case o Javanese Gamelan where the music is more calm in character and the instruments are made o thinner metal. I Javanese Gamelan is the only available option, arrangements should be made with the Gamelan instructor or the person in charge o the instruments to make sure they approve o the instrument usage. Ampliication can be considered i the triple orte dynamics turn out to be impossible to achieve acoustically. The Gamelan player should sit cross-legged in between two large gongs reaching or the gongs hanged on the two sides o the gong stand. The gender should be placed in ront o the set-up. The recommended scale is Slendro although the piece can also be played on Pelog. The pitches speciied in the score are approximate and in accordance with the tuning o Wesleyan University's Gamelan. While the pitch will vary with dierent sets o Gamelan, the provided numerical notation will be the same in every case. The numbers above the notes indicate which note o the Slendro or Pelog scale is to be played.

121 Village o Control or Overtone Singer and "World Music" Ensemble Tomasz Arnold Overtone Singer Senza misura [0:20"] [0:25"] Chapareke *1 Db3 ad lib. With violin bow *2 0:24" p m Pipa Marimba Bass Steel Pans Gamelan *1 *2 p Gong Suwukan ca. 1 mp 0:08" 0:20" Chapa. Bs. St. Pans Gam. 0:25" 0:25" 1 m (with violin bow) 0:30" mp 5 *3 0:35" :40" [0:45"] p p 0:30" 0:45" 0:53" [0:55"] Copyright 2016 Tomasz Arnold

122 Chapa. Pipa Mar. Bs. St. Pans Gam. Chapa. Pipa Mar. Bs. St. Pans Gam. 0:55" 0:58" m 5 1:03" 8 5 m p mp mp simile [1:23"] 1:29" [1:30"] 2 1 q= ca. 160 q= ca :05" *1 ca. 1:18" *1 0:58" 1:23" 1:30" 1:32" 4-8 [2:00"] sim. 1:32" mp *2 sim. (varied amounts o notes) *2 mp sim. (varied amounts o notes) 1:32" m sim. ad lib. 1:31" Gong Ageng 1 5

123 Chapa. 2:00" 3 rall. [2:30"] Pipa (no rall.) Mar. Bs. St. Pans (no rall.) rall. Pipa 2:30" [3:15"] Mar. Chapa. 3:15"plucked with inger sub 3:19" 3:22" 3:26" 3:31" 3:43" sim. sim :35" with violin bow [3:50"] Pipa Mar. Bs. St. Pans 3:49" mp

124 4 Ovrt. Sing. Chapa. Pipa Mar. Bs. St. Pans Gam. Ovrt. Sing. Chapa. Pipa Mar. Gam. 3:50" (Khöömii) 4:35'' l. v. l. v. timing ad lib. *3 ( q= ca. 160 ) 8 l. v. 3:55" 9 p *1 sim. sim. ad lib., ull spectrum, low density mp *2 mp [4:34"] [4:35"] 4:32" 1 ad lib., ull spectrum, low density (with violin bow) 5 timing ad lib. Gender 2 1 simile *4 3 sim. ad lib :17" [5:19"] [5:20"]

125 Ovrt. Sing. Chapa. Pipa Mar. Bs. St. Pans Gam. Ovrt. Sing. Chapa. 5:20" (Xarxiraa) 5:21" 6:05" ( ) ( ) *3 (Khöömii) 5:23" 5:25" ad lib., ull spectrum, medium density gliss. 5:23" p 5:23" 5:26" mp ( ) ( ) 6:07" 6:09" 5 5:26" 6:03" 6:03" [6:04"] [6:05"] (Gender) 3 2 gliss. ad lib., ull spectrum, high density with threaded rod 6:50" *4 mp 5 [7:00"] Pipa Mar. 6:07" 6:10" 6:55" Jiaosixian *5 mp mp mp 6:55" Bs. St. Pans *3 6:58" mp

126 Pipa Mar. Gam. Ovrt. Sing. Pipa Mar. Bs. St. Pans Gam. 7:00" 2 *6 [7:19"] (repeat with variations) [7:20"] (repeat with variations) *3 2 7:20" *4 Cupped hands ollow the steel pans player 7:30" sim. keep ollowing the steel pans player. [8:00"] gliss. 6 8:02" [8:04"] 7:30" sim. 7:50" 7:30" 7:50" cue the singer *4 7:30" sim. sim. ad lib. keep cueing the singer 8:03" m 7:50" 2

127 Ovrt. Sing. Chapa. Pipa Mar. Bs. St. Pans Gam. 8:04" Cupped hands ad lib., ull spectrum, varied density! [8:28"] [8:29"] with violin bow 5 overpressure *7 (Suwukan) 1 8:05" (all o the available gongs) *4 (Gender) 2 7 Ovrt. Sing. 8:29" (regular, without the "cup") ad lib., ull spectrum, med. density [8:39"] [8:41"] m mp Low density [8:46"] [8:50"] Pipa Mar. Gam. m m mp m mp m mp p

128 8 Ovrt. Sing. 8:50" (Low density) Chapa. Pipa Mar. Ovrt. Sing. 9:20" *5 (Isgeree) p 4 Chapa. p 5 Bs. St. Pans Gam. p 1 p 9:38" timing ad lib :05" 8 5 9:05" timing ad lib. 5 6 [9:20"] p 9:10" mp pp 9:10" mp pp [9:50"]

129 Ovrt. Sing. Chapa. Pipa Mar. Bs. St. Pans Ovrt. Sing. Chapa. Pipa Mar. Bs. St. Pans Con la misura q=120 9:50" 9 5 [9:56"] p 4 mp pp mp pp mp mp Senza misura Con la misura q=120 9:56" [10:06"] Continue as in 9:20" to 9:50" section 5 [10:12"] Continue as in 9:20" to 9:50" section 4 p mp mp mp

130 10 Ovrt. Sing. Senza misura Con la misura q=120 rit. 10:12" [10:14"] [10:34"] 4 Continue dialog as in previous sections slowing the events down gradually p 10:30" pp Chapa. Pipa Mar. Bs. St. Pans rit. Continue dialog as in previous sections slowing the events down gradually p 10:30" pp ppp mp ppp mp mp mp 4 Ovrt. Sing. 10:36" [10:42"] Chapa. Pipa Mar.

131 Ovrt. Sing. 10:42" Chapa. Pipa Mar. Bs. St. Pans Gam. 1 p p 11

132 Scatter in the Sky notes: Scatter in the Sky: 1. Song: Scatter in the sky, It's been alling by my side, Skatter in the Sky, Is it right? Or should I never ly? Scatter in the oreign land, Going ar but still together, blends, In something tender, Tender. Scatter in the Sky, Go ahead, and do it or me, try, Do it or me, try, Do it or me, try. 2. Chatters over the chord changes: Scatter in the sky sky sky, the sky, in the sky, why it's mine, blend in wine, my my my, sky sky sky, by my side, alling light, might might might, in the ight, ucking tight, my my my, splendid wine, why don't you ucking try, it's been light, might be night, by my side Scatter in this oreign land, blend blend blend, be demand, or command, tend tend tend, oreign land land land, in the blend, uck my hand, in the ucking oreign land, that's the brand, land land land, in my hand, be a band, stand in my hand, hand hand hand, why don't we do this stand, in the hand, blend blend blend, oreign land Go ahead, mad mad mad, do it in the bread, thread thread thread, my my my, try try try, why don't you ucking try, and good bye, buy buy buy, scatter in the sky sky sky, in my ucking oreign land and bribe, do it might, ight ight ight, I want to ucking hide, in the oreign land the bride, might might might, ight ight ight, be it in the light, and inally ucking hide, hide hide hide, in the bride Piano clusters over Gb chord. sustain. Go to DR. keep chattering. 4. have mic. pick up single syllabes while you're chattering. Slides on the drum. Go closer and closer. As you go close, start chattering in jitters. Make dramatic pauses. sssssssssssssssssssssss with crescendos. Rim clicks. Turn on snares.

133 5. Keep building up. Start some screams and short, single notes. As you progress, have drumset licks more ellaborate while the voice decays. Go more and more crazy, and have more and more singing. 6. play crazy drumset cadensa loud as shit and ast. no voice. at the end hit the ride cymbal and bring the mic to its side with dramatic gesture. listen to the sound or a while. 7. start hitting rims and sides o the crash and hh cymbals. Hit the Ride strongly two more times intersecting with the rims. 8. Ater the third time, start singing the song. First in audible, song comes in and out o the cymbal sound. Keep hitting the cymbal soter and soter, while you're singing the song gently and intimately. 9. at the end vamp on "Do it or me, try" and hit a couple more times very sotly. at the end inish on "do it or me" and mule the cymbal.

134 Programs or the Hybrid Recitals: Hybrid Recital no. 1 Happy Hybrid Hybrid #3 Dance and Noise

135 Program Tomek Arnold: Cause there is no one like us JS Bach: Lute Suite in e-minor: Prelude, Presto, Allemande Robert Morris: Rapport eaturing: Omar Fraire (synth) intermission JS Bach: Lute suite in e-minor: Courante Tomek Arnold: Village o Control eaturing: Andrew Colwell (voice), Omar Fraire (chapareke), Wan Yeung (pipa), Jordan Dykstra (pans), Dave Scanlon (gamelan) JS Bach: Lute suite in e-minor: Sarabande, Bourree, Gigue Tomek Arnold: Scatter in the Sky

136 Program notes: Cause there is no one like us: I think it's air to say that most o us have some kind o guilty pleasure listening. But why? Why is it called guilty? Why do we eel like we shouldn't be enjoying certain kinds o music even though our hearts and guts are saying the opposite? Cause there is no one like us is a celebration o what most culturally educated people label kitsch, bad taste and low-class musical entertainment (even though they oten secretly put it up on youtube when no one is watching). (I sincerely hope there are people at this event who have no clue o what I'm talking about here) Lute Suite in e-minor Pretty sel-explanatory, no? Rapport Rapport was conceived in 1971 as an improvisational piece or two perormers using prerecorded tapes o music to be processed through electronic music equipment. By 1973, the nature o the piece stabilized into a set o speciic instructions or perormance. In 2010, I translated the original electronic hardware into computer sotware so Rapport could be perormed on a laptop computer. In addition, the recorded music was selected anew; however, some o the original items were preserved. The prerecorded samples are drawn rom classical, popular, traditional (i.e. olk), and ritual music selected rom a large selection o dierent geographical areas on each continent. Only a ew o the excerpts are o western classical or pop music. The samples are not directly heard but sampled, modiied, intermixed, and transormed by the perormers in real time. Every perormance is unique, oten discovering unusual combinations o musical sound and reerence. One perormer plays the synthesizer, which can alter the prerecorded music in various ways, and the other perormer mixes the output o the synthesizer and unaltered musics and sends it into the digital delay system. The result is an intricate canonic web o musical texture varying continuously between montage to mixage depending on the actions o the perormers. The length o the pre recorded material is 30 minutes, so the piece has to last a little less than a hal an hour. While the piece always begins in the same way with a piece o South Indian (vina) music and/or mixed with an Egyptian art song accompanied by an oud, and/or mixed with a piece o Cambodian theater/dance music, each perormance takes its own course, exploring the possible interconnections between the recorded music and the computer generated and transormed processes and sounds, depending on the improvisational skill o the perormers. The perormance can end with another South Indian selection, this time a vocal improvisation; however, the states o the delay system, the synthesized sound, and the previously selected prerecorded material may mask or disguise this selection. The idea behind the piece was to allow two perormers amiliar with world musics and wellversed in live electronic music perormance to improvise a piece integrating musics o all peoples and times into a vast tapestry o sound a non hierarchic tribute to music making in its many guises and incarnations. In its original orm, the piece was designed to be played in a comortable setting or a small group o people invited to attend a perormance. Beore each perormance, the nature o the piece was explained and the electronic component illustrated; ater the perormance, the perormers encouraged discussion and answered questions. Rereshments were oten served to heighten the relaxed and inormal nature o the event. In its present orm, Rapport can be perormed in any venue including installations.

137 Village o Control Village o Control is a ailed attempt to create a non-aggressive multicultural musical environment based on cultural appropriation. When writing the piece I thought o ways to remove mysel rom being in control over the creative process, and instead give the power to the elements o dierent cultural identities that I planned to include in the piece. I quickly realized that it's impossible or a composer to completely reuse control over his/her work as even the most plain and basic idea o a piece is already a power statement and puts one in charge with the material no matter its nature. Nevertheless, there are certain elements that were out o my control rom the very beginning such as: the nature o the overtone singing dictating the pitch material, the undamental pitch dictated by the availability and pitch approximation o the Gamelan instruments, certain gestural and textural elements inspired by my observations rom traditional pipa music listening, and I'm sure a ew more elements that I can't really remember as I'm writing this... Scatter in the Sky Sometimes making a satisying piece takes much less time and eort than we expect (or much less than it actually should take). Scatter in the Sky was a result o my boredom with another piece o mine that I was learning to play. Ater hours o productive but airly dull practice session I started to improvise using the digital processing patch I made or that other piece. Soon it became a lot o un, so I continued or a ew more hours. All o a sudden I had a new piece ready. I ound it very pleasing as the piece was attractive or me to perorm and it also satisied my compositional language. This all elt too good and too simple though, so I thought that it would be nice to just randomly throw a pop song into the structure. I started searching youtube but didn't ind anything I liked, so I decided to go to the piano and quickly come up with something bad yet with a certain element o charming naivete and roughness o ignorance. I still don't know why I think it all its together and makes sense or a coherent piece... maybe it doesn't. Who cares?

138 I would like to thank everyone who contributed to the creation o this concert as it is: Ron Kuivila, Paula Matthusen, Jin Hi Kim and Liz Philips or your great insights and inspiration. Omar Fraire, Sam Anschell, Johnnie Gilmore, Becket Cerny or perorming with me. Warren Enström or sitting behind the mixer and being an extremely reliable sound guy. Matt Wellins or operating lights and being OK with standing backstage or the entire concert. Dush or your great artwork in making my drums look like I'm a cool person. Hallie Blejewski or being yoursel in giving the best concert introductions on the East Coast. Jordan Dykstra or making the ine quality recordings. and Paula Matthusen or lending me the cactus. HYBRID #3 --> DANCE and NOISE MA thesis recital by Tomek Arnold Apr. 17, 9 pm. Memorial Chapel Wesleyan University

139 "...each sip o beer is inextricably linked with memories o past sips and o the expectation o uture sips to come". Andrew Hill Each o the Hybrid Recitals is my attempt to connect various musical cultures, traditions, contexts and expressions into one large meta-piece. Hybrid Recitals merge the musical orms o the past with the ones o the present and explore the boundaries o genre in attempt to reduce the impact o context and encourage purely sonic and kinesthetic musical perception. Hybrid #3 --> Dance and Noise is the third Hybrid Recital rom the set. The previous two (Hybrid Recital #1 and Happy Hybrid) were both premiered at Wesleyan in May and November 2016 consecutively. Each recital presents its own unique set o works that are hand-picked in accordance with the available instrumentation, speciicity o the perormance space, and contextual environment o the event. PROGRAM: Dance and Noise Tomek Arnold (1990) Lady Hunsdon's Pue John Dowland (1563) Melancholy Galliard Come Away The Most Sacred Queen Elizabeth, Her Galliard A Study Ater Tomek Arnold, Omar Fraire Sam Pluta's SWITCHES eaturing Omar Fraire on cello _ Intermission with music _ relax, dance and enjoy the estivities Child o Tree John Cage (1912) Sonata K. 1 in D-minor Domenico Scarlatti (1685) Sonata K. 3 in A-minor Sonata K. 402 in E-minor Sonata K. 198 in E-minor Birds Tomek Arnold One o These Days Tomek Arnold eaturing Sam Anschell Sax, Johnnie Gilmore Bass, Becket Cerny Drums

140 Appendix 2: Scores and explanations or other works I did at Wesleyan. Rosaline (December 2015): Instrumentation: Trumpet, Drum-set, MIDI Drum-set and electronics. Notes: Rosaline was intended to be perormed with my colleague Sam Nester. The only part o the piece ever perormed was its irst movement with Warren Enström on Bassoon. Sam never took the challenge. The idea or the piece comes out o the structure o a rose lower. The irst movement represents the root system then consecutively a stem, leas, prickles, and the lorescence. The titles o the movements relect how I eel about each part o the piece. The speciics o the underlying pitch and rhythmic material is taken out o the shapes o the rose leas. I chose 12 dierent leas over the summer, and counted their intersections that come out o the main vertical line that divides the lea into two sides (let and right). I then counted the amount o subsections in between the larger intersections, and got the speciic numbers that later on I changed into pitches and sometimes rhythms too. This piece was my irst attempt at working with the MAX/MSP programming language, and was developed as a part o workshop sessions or data-based composition with Ron Kuivila and Luke DuBois.

141 Bell Sanctuary (December 2015): Instrumentation: Percussion Ensemble (six players) Notes: The piece was written as a part o the graduate composition seminar in the all 2015 with Paula Matthusen. It's a piece written or the vising ensemble Mantra Percussion. The idea came rom my various experiments with micing percussion instruments and achieving interesting sounds. Structure based entirely on the sonic values o the sections that each develop a dierent sound. The piece was perormed at the inal concert or the composition seminar in December 2015 at World Music Hall in Welsleyan. SHIFT Fajrant! (March 2016) Instrumentation: Solo Percussion and ixed media. Notes: The piece was written or a Spanish percussionist Noé Rodrigo who I met at the Lucerne Academy in the summer The idea came rom the structure o a manual laborer's average working day. The ABA structure adheres to the circularity o worker's lie with the A section, extremely diicult and precisely notated imitating the hard labor and subordination. And an entirely improvised B section that symbolizes the illusion o reedom when one takes a break rom work. The ixed media track contains o sounds o beating metal as well as various verbal statements coming rom manual laborers rom dierent parts o the world and dierent periods o time talking about the issues connected with their jobs. During the B section, the sounds contain party noises, laughter, beer can opening sounds, and others. All o the human sounds used in the ixed media track come rom people who live or lived in the socialist or communist countries. The work spirit and various idealizations o manual labor rom communist propaganda was the main source o inspiration or that piece even though at the end it was more about people's issues rather than political systems. Program notes: 01'18": "I can't do anything. For this kind o job all i can do is to keep working hard." The sound o struggle crated in metal commits the worker to his instruments and accompanies him throughout the shit. His work requires high amount o precision, coordination and stamina. 11'18": "We must also rest. We cannot work overtime every day. Not even those who want to can do that."

142 The orm taken rom the structure o the average working day allows or the certain amount o reedom ater the shit is over (ajrant!). During the shit however, the system strictly controls worker's behavior. 12'10": "I we did that, we would be ired. They would never allow an independent union in the actory" Hard and genuine work during Shit and Fajrant generates the capital o sound that provides its consumer with sonically introduced questions o value, virtue, diiculties and exploitation o manual laborer. "Capitalism has triumphed all over the world, but this triumph is only the prelude to the triumph o labor over capital". Birds (April 2016): Instrumentation: Non-ixed, audio-visual multimedia (a MAX/MSP/Jitter patch) Notes: Composing Birds started out o my appreciation, enjoyment, and respect o Alred Hitchcock's ilms. The piece is based entirely on his 1963 production The Birds that distinguishes itsel rom among other ilms o Hitchcock (and perhaps most o the Hollywood productions in general) with the complete lack o musical soundtrack, which perhaps unctions as an opportunity to make bird noises (apparent throughout) appear as the only musical actor in the ilm. The absence o soundtrack and the musicality o various bird noises involved was the impetus or my work, and gave me the idea o creating an audiovisual representation o The Birds being at the same time an homage to the director that I highly admire.

143 The idea or the ilm's plot presents itsel as quite simple and innocent rom the very beginning; a wealthy socialite woman lirts with a man in a pet store, and ater their playul conversation she decides to track him down and bring him a pair o lovebirds as a git. Finding him absent in his apartment, she decides to ollow him to a small town nearby San Francisco where he's been gone or the weekend. However, ater her arrival the things start to become increasingly disturbing as birds o dierent species start attacking people and taking over the town. As in various other ilms o Hitchcock, in The Birds we get a alse introduction o the ilm's plot that rom the beginning suggests a story completely unrelated and irrelevant to the true subject and nature o the ilm. Ater all, The Birds starts as nothing more than a simple romantic comedy, which rom the beginning makes us eel sae, relaxed, entertained and, as a result, more vulnerable to what is about to happen next. The alse introduction o the plot is Hitchcock's way o building suspense in the ilm by creating an expectation in a viewer, and then slowly destroying it using viewer's vulnerable state o mind and making it more and more unsettled as the ilm unolds.

144 Hitchcock's suspense-building technique was the basic ormula I appropriated or the structure o Birds. The sounds starting rom seemingly playul and innocent gain intensity and disturbing character as the piece unolds. That basic structural idea was the actor that helped with organizing all o the audio and visual events in the piece based upon their degree o disturbance. I categorized the events, put them in the right sections, and then created a MAX/MSP/jitter patch that reely chooses the sound and video iles rom the correct olders associated with those sections. As the orm unolds, the sotware switches between the three sections o events progressing rom the most innocent ones to the most disturbing and intense ones. Thus the global orm o the piece always stays the same but the local structures happening within each section are reely determined by the sotware and, as a result, vary rom perormance to perormance giving the piece a spontaneous character that can never be repeated in its subsequent presentations. The sound and visual world o Birds is based entirely on appropriation. There is absolutely no original sound components used and almost no original ootage. The sounds used in the piece are o three dierent types and come rom various dierent places: Type 1: Background sound: a sinusoidal version o Eels' song I Like Birds. The song runs rom the very beginning to the end o the piece always in the background and becomes more or less apparent in dierent sections o the piece. During the course o the piece, the song gets ring-modulated and slowed down considerably. Type 2: Bird sounds: coming rom Hitchcock, rom Columbia University's ornithology archives, and private contributions on youtube. Columbia's archives sounds are o small birds singing, youtube contribution is mostly large birds making noise, and Hitchcock's bird sounds are synthesized noise o large locks o birds invading people or places during the ilm. Type 3: Human sounds: dialogues rom The Birds that talk about or mention birds in some way.

145 The ootage outside Hitchcock's comes rom a documentary ilm The Lie o Craws that can also be ound on youtube, and 4 shots o sea gulls in Rome that I took during my summer trip there (which are the only original component in the entire piece). The piece contains o three basic sections and a coda that are determining the categorization o the sound and video iles. The shit rom innocence to disturbance is based upon how the sound and ootage is distributed within these sections. However, The idea o progression is happening in the piece on a ew other plains as well. Besides the innocence to disturbance progression there are also: gradual appearance o The Birds out o bird ootage rom other places not related to Hitchcock; gradual appearance o people in the ootage coming out o plain bird shots; gradual increase o the speed o ootage and the rate o its appearance; gradual appearance o ring modulation and decrease in tempo o the background sound; gradual pitch-shit downwards in the bird noises o sections 2 and 3; gradual increase o bird sounds over people's sounds (dialogues become increasingly not understandable until they disappear swallowed by bird noises). The progressions evolve over the three main sections o the piece that lead to the coda section at the end. Coda unctions as a inal commentary on the elements o progression that appeared beore. The ootage (taken rom the last minutes o The Birds) shows complete domination o birds over humans by showing the main character navigating through the stacks o birds sitting all over the human-inhabited household areas. Sound calms down at that moment, however, the progression o bird sounds over human sounds gets completed with the inal silencing o humans in the soundtrack. The background sound, drastically slowed down at that moment becomes more apparent as it was at the very beginning. The reminiscence o the beginning comes into mind with the completion o the bird domination process. And the peace is once again restored.

146 Snatches o Memory by Artur Arnold (April 2016): Instrumentation: Video projection accompanied by percussion with live electronics. Notes: Snatches o Memory is a piece I did in collaboration with my ather Artur Arnold. It's a video accompanied by reely chosen percussion instruments with or without electronics. My dad provided the video and instructions or the improvisation o the sound track. The inspiration or the piece came out o a challenge that I gave to him. Ater my irst semester at Wesleyan, I brought back home various video documentations o the works that me and my colleagues did at Wesleyan. Ater I exposed my parents to dierent experimental works done by my peers, we had a vibrant discussion on the legitimacy o those works and the Wesleyan's composition program in general. My parents argued that the program is a sort o scam where people just do whatever they want, call it work, and then make up a bunch o academic non-sense to legitimize it. Their opinion was that with all this academic surrounding that legitimizes what we do here, most o the actual pieces involve no substantial musical skills, and virtually anybody could realize them without much diiculty. Deending the program, I challenged my dad to make a piece o experimental music himsel i he thinks it's so easy, and i he did, I'd perorm it at Wesleyan. He ended up making a video piece that projects pictures o highlighted events o his lie that are dipped inside a bucket o liquid rom which a hand tries to dive them out symbolizing the process o remembering. Composing it he ound anything but easy.

147 Brains and Hands (April 2016): Instrumentation: Laptop Ensemble Notes: A piece I did encouraged by the Wesleyan laptop ensemble director Paula Matthusen. My experience with perorming in laptop ensemble was a strange one. Beore taking this class I had no previous experience or idea o how it is to perorm in this setting. My expectations were guided by my previous experience in perorming with various chamber ensembles. The surprise was that ater a ew laptop pieces we did I quickly realized that it's a completely dierent experience to perorm music live with others than to sit there with a bunch o people pressing buttons on their laptops. The, so to speak, chamber music experience o making music collectively with people and communicating within that activity was not there or me at all. It certainly seemed or me that no matter what I do in that ensemble will have no substantial relevance to the workings o the piece and to the overall sound result. I ound it extremely constraining musically and dissatisying on surprisingly many levels. In the most pieces we did, I just could not ind a suicient reason or the involvement o people doing it as opposed to having it presented as just ixed media compositions. Having said that, the experience was very interesting even though I did not enjoy perorming in this setting very much. Brains and Hands is my personal response to the dilemmas I have with the laptop ensemble ormat. The patch is very simple and consists o sign waves o dierent timbres that can be pitch shited, ring modulated and dynamically varied. The piece involves two perormative roles: brain and hands. Brain provides the instructions or improvisation or their partner to manipulate the patch in trying to realized those instructions. Brains speak the instructions to the microphone connected to a MAX patch on the master computer that later on plays the recorded verbal instructions into the main PA system on the top o the improvised sounds that come out o the speakers localized with the stations where perormers reside with their laptops. Brains also record the sounds in the concert hall running back and orth rom their partner to other places in the hall. As the piece unolds, the MAX patch starts to break loose with uncontrolled bursts o pink noise, changes shapes graphically, and moves the sliders that control sound, which makes it increasingly more diicult or the perormers to adjust sounds. At the end o the piece, the patch takes over and it is no longer possible to adjust sounds. The whole piece breaks into loud bursts o noise and the mess o constantly adjusting sounds o the sign waves. Isolation, Materialism, Appearance (December 2016): Instrumentation: Piano, Sampler, Flute, Drum-set, Cello. Notes: The piece was composed as a part o the composition seminar class with Ron Kuivila in the all It's composed or the Ensemble Pamplemousse that visited Wesleyan to perorm the works o people enrolled in the course.

148 The structure o the piece is a slow construction o a dance music track that I produced. The dance track was produced at the very beginning o the compositional process and was deconstructed into samples o beat, chords in mid register, high register enhancement and bass line. Ater deconstructing the soundtrack into samples, I composed the chamber piece that works itsel sonically around the samples that are triggered by the piano player. Over the course o the piece the samples start to ormulate the dance music track and the whole piece resolves with the ensemble providing the accompaniment or the track. Broken Breathing (March 2017): Broken Breathing is a piece or solo percussion and Wind Ensemble. In the Spring 2016 I was approached by Bill Sand to play a concerto with Wesleyan's wind ensemble WesWinds. The renting o the score or the piece I wanted to play, however, became a big inancial and organizational undertaking, so instead I proposed to write a piece mysel to perorm with WesWinds in the spring The piece draws on three sources o inspiration: noise, marching music, and techno. The elements progress rom one to another in the series o episodes throughout which, the percussionist improvises the solo part using the verbal instructions included in the score. One o These Days (March 2017): Instrumentation: Jazz ensemble. Notes: One o These Days is a jazz/unk tune I composed or my spring thesis recital. I always wanted to write a jazz tune and have it perormed. Beore leaving Wesleyan I wanted to once again collaborate with Sam Anschell, Johnnie Gilmore and Becket Cerny, the undergraduate jazz musicians that I perormed with in the Wesleyan jazz ensemble directed by Noah Baerman. Dance and Noise (April 2017): Instrumentation: Cajon (or any hand drum) with live electronics. Notes: The piece is an improvisation on Cajon with live electronics. The live electronics component is a MAX patch that mixes various samples that make an IDM using the verbal instructions included in the solo part track. In the middle section, the cajon player is triggering samples o noise using contact miced cajon as an impulse or the samples to be triggered. The piece blends the two sound worlds o dance music and noise into a viruosic improvised solo.

149 Tomasz Arnold Rosaline or Trumpet, percussion and electronics

150 Rosaline or Trumpet, Percussion and Electronics I. Mature Tomasz Arnold Trumpet resulting electronics A ca. 7" ca. 25" ca. 8" p Trumpet in C Electronics (resulting pitch) MIDI Drum Set Cue 1: Set A L. V. Mute on (harmon with steam) m Cue 1: Recording 1 Cue 2: Stop and play (with granulation) Cue 2: Fade out A Cue 3: Set B Elctr. B ca. 4" ca. 15" p ca. 15" ca. 8" C ca. 8" ca. 3" C Tpt. Elctr. M. Dr. L. V. m Cue 3: Recording 2 Cue 4: Stop and play (with less granulation) Cue 4: Fade out B Cue 5: Set C L. V. Copyright 2015 Tomasz Arnold

151 2 Elctr. C Tpt. Elctr. M. Dr. Elctr. C Tpt. Elctr. M. Dr. Mute on (lyric) p m Cue 5: Recording 3 Cue 6: Stop and play (simile) ca. 40" ca. 8" Cue 6: Fade out C Cue 7: Set D D E ca. 1" ca. 20" ca. 1" mp m Cue 7: Recording 4 Cue 8: Stop and play Cue 9: Recording 5 Mute on (cup) L.V. L.V. Cue 8: Fade out D Cue 9: Set E

152 Elctr. C Tpt. Elctr. M. Dr. Elctr. C Tpt. Elctr. M. Dr. ca. 10" ca. 10" F ca. 30" 3 Cue 10: Stop and play mp Cue 11: Recording 6 mp 6" 4" Cue 10: Fade out E Cue 11: set F Cue 12: Fade out F Cue 13: Set D# and F Cue 14: Set G G Cue 12: Stop and play Mute o mp poco m q=60 Cue 13: Recording 7 Cue 14: Stop and play + Recording 8 m q=60

153 4 Elctr. C Tpt. Elctr. M. Dr. Elctr. C Tpt. Elctr. M. Dr. 8" Keep the tempo (q=60) ca. 7" 22" G.P Cue 15: Stop all sounds! Cue 16: Fade in middle voices G.P. Cue 15: Stop all sounds! Cue 16: Set H

154 Elctr. C Tpt. Elctr. M. Dr. Elctr. C Tpt. Elctr. M. Dr. H 3 5 ca. 10" ca. 10" ca. 10" Mute on (harmon, no steam) mp sz m Cue 17: Recording 9 Cue 18: Stop and play sz m Cue 19: Recording 10 Cue 20: Stop and play mp mp sz m Cue 21: Recording 11 Cue 22: Stop and play ca. 25" mp mp Cue 23: Recording 12 Cue 24: Stop and play Cue 17: Long ade out! attaca 7 7

155 6 II. Elevated Trumpet resulting electronics Trumpet in C MIDI Drum Set Drum Set ca. 15" Cue 23: Start crescendo Cue 24: Sound in q=90 A (pitch shit) 3 3 L.V. lunga p sempre ca. 4" ("muled", note o) 3 3 lunga with brush p sempre stop! stop! L.V. ca. 3" ca. 3" B Elctr. C Tpt. M. Dr. Dr. set L.V. ca. 4" L.V. ca. 5" ca. 5" C L.V. 5 5 ca. 7" 5 5 5

156 Elctr. C Tpt. M. Dr. Dr. set Elctr. C Tpt. M. Dr. Dr. set L.V. D L.V. L.V. 6 3 ca. 8" ca. 8" ca. 4" 3 6 E L.V L.V. 7 7 ca. 9" ca. 15" ca. 15" 7

157 8 Elctr. C Tpt. M. Dr. Dr. set Elctr. C Tpt. Elctr. M. Dr. Dr. set 5 L.V. 5 L.V. 3 L.V. F p p p L.V. G p q=140 L.V. attaca

158 9 III. Flirtatious Trumpet resulting electronics Trumpet in C q=130 * A Improvise low noises Cue 1: Delay on sub mp sub mp *Tongue - rams: mouthpiece entirely covered, slap being produced by inserting the tongue rapidly into the air stream. Follow the melodic contours indicated by the unspeciied-pitched triangular notes. MIDI Drum Set Elctr. C Tpt. M. Dr. Dr. set Drum Set sub mp sub mp Cue 2: Pitch shit at maj. 2nd B C Cue 3: Pitch shit at maj. 3rd

159 10 Elctr. C Tpt. Dr. set Elctr. C Tpt. Dr. set D Cue 4: Pitch shit at perect 5th sub mp

160 Elctr. C Tpt. Dr. set Elctr. C Tpt. Dr. set E sub mp sub mp Cue 5: Pitch shit at maj. 6th 11 sub p

161 12 Elctr. C Tpt. Dr. set Elctr. C Tpt. Dr. set F Cue 6: Pitch shit at maj. 7th G sub mp Cue 7: Delay o m 5

162 C Tpt. Dr. set C Tpt. Dr. set Elctr. C Tpt. Dr. set 5 5 m H 3 3 m Cue 8: Delay on, pitch shit at maj 21st

163 14 Elctr. C Tpt. Dr. set Elctr. C Tpt. Dr. set I Improvise high noises Cue 9: Pitch shit at maj 17th m sub mp

164 Elctr. C Tpt. Dr. set Elctr. C Tpt. Dr. set sub mp J Cue 10: Pitch shit at maj 13th 15 m K Cue 11: Pitch shit at maj 9th m m

165 16 Elctr. C Tpt. Dr. set Elctr. C Tpt. Dr. set L sub mp Cue 12: Pitch shit at perect 5th m m M sub mp Cue 13: Pitch shit o sub mp m

166 Elctr. C Tpt. Dr. set mp Cue 14: Delay o sub p 17

167 18 IV. Sharp q=80 Trumpet in C Drum set 1 D E EFG G p p A B C Toms and SD. A B F E E C D D G E E A A G E Senza misura, ad lib. Responsive improv. Con la misura, q=80 C Tpt. Dr. set 2 D E F# G# A B D E F G A B C# D D# E F G A B mp mp All instr. F# B G# G# D A F# F# G B E D D A E E E G D F G C Tpt. A G C# C# D# D# C# C# E Senza misura, ad lib. Con la misura, q=80 3 C# D# E F# GG# G# AB C MIDI Dr. F# m G# B F# F# G A C G C Dr. set Responsive simile m All instr.

168 C Tpt. MIDI Dr. Dr. Set C Tpt. MIDI Dr. Dr. Set C Tpt. MIDI Dr. Dr. Set 4 C D# E F# G A B CE F G# A A# B F# E F# G F# B A B A D# E B A G# A G# F C G# E A A# G# simile 19 C# D# D D# E C# F A G# A E G# G# D# D# F D A D# D# D# D# F D# D# F Senza misura, ad lib. D# D# Responsive 6 5 simile simile 6 5 Con la misura, q=80 D D D# EF C# F# G AB E B C# All instr. F# D C# C# D E B F# F# B E D C# simile C# E B F# F# C# C# B F E F# F# E F# F# A F G D# D# C C# E F# F F# A# GA A#

169 20 C Tpt. MIDI Dr. Dr. Set C Tpt. MIDI Dr. Dr. Set C Tpt. MIDI Dr. Dr. Set accel. 5 CD D# E F# G G# A D D# E F# GA F F# GG# G# A A# B E C A G F G C# D E A D# F# G# G C A G F# E D# D# F# F# G D G# B F# B A G# F D E EFG G A B C A B F E E C D D G E E A A G E DE B F# G# AB F# B G# D A F# G D D E B EFG E A B D A E E G D 6 q= ca. 130 Con la misura Senza misura, ad lib. Senza misura, ad lib. ca. 2" q=120 scream! hold the scream or as long as you can Keep playing the material and deconstruct it speeding up the tempo even more, and gradually removing grace notes Improvise going more and more crazy G.P. in avor o single sharp notes and legato passages Incorporate noise, and, towards the end, screaming inside the trumpet. E G A G!!! Cue: Click tracks on Responsive improv. ca. 2" G.P. crazy drum solo leading to the inal mov.!!! attaca

170 Transposed score V. Beautiul 21 Piccolo Trumpet in A Drum Set start q=130 start q=111 Picc. Tpt. Dr. Picc. Tpt. Dr. x 11 x 10 Picc. Tpt. Dr. q=120

171 22 Picc. Tpt. Dr. Picc. Tpt. Dr. Picc. Tpt. Dr. Picc. Tpt. Dr.

172 Picc. Tpt. Dr. Picc. Tpt. Dr. Picc. Tpt. Dr. Picc. Tpt. Dr. 23

173 Bell Sanctuary For Percussion Sextet and Live Electronics Tomasz Arnold

174 Perormance notes Movement and spatial distribution o sound is an important element in the piece, which is why the parts are not arranged in accordance with speciic set-ups assigned to each player but rather on the basis o the placement o instruments. The score, too, is designed in accordance with the speciicities o instruments, and arranged spectrally (rom the lowest undamental note, to the high partials). Instrumentation (as arranged in the score layout): Crotale (upper or both octaves), Crt. Glockenspiel, Glc. Three metal pipes o deined pitch, Met. Pip. 1 Medium bells (any kind o bells rom mid to high range (or example disassembled bell tree) in a set o at least 3), Med. Bls. Three metal plates, Met. Plts. Three metal pipes o deined pitch, Met. Pip. 2 Vibraphone (with a heavy object on the pedal keeping it down the whole time), Vib. 1 Vibraphone (with a heavy object on the pedal keeping it down the whole time), Vib. 2 Nipple Gong (medium to small, deined pitch), Gong 1 Nipple Gong (medium to small, deined pitch), Gong 2 4 Suspended cymbals, Harm. Cymb. 1, Harm. Cymb. 2, 5 up Cymb., Fund. Cymb. Distribution o instruments within parts: Prc. 1: Met. Pip. 1, Harm. Cymb. 1, Fund. Cymb., Gong 1. Prc. 2: Met. Plts., Glc., Vib. 2 (bowed). Prc. 3: Med. Bls., Vib. 1, Met. Pip. 1. Prc. 4: Met. Pip. 2, Harm. Cymb. 2, Med. Bls., 5 up Cymb. Prc. 5: Vib. 2, Met. Plts., Harm. Cymb. 1, Gong 2. Prc. 6: Crt., Harm. Cymb. 2, Met. Pip. 2 Electronic equipment: 4 channel PA + Subwooer (not required but STRONGLY recommended) 4 dynamic mics with wind screens 4 lat contact mics mixer with at least 8 channel input

175

176 the piece, when indicated in the score. Pick 4 dierent pitches rom the metal pipes (2 rom each set) and transpose them to the lowest registers o the vibraphones (F 3 E 4 ). Each vibraphone should be assigned to two pitches distributed in about a 4 th o a distance i possible. Aix 4 contact mics to the chosen low register pitch bars on vibraphones. Mics should be placed exactly on the lower nodes o the bars cutting some o the requencies and, as the result, making the irst partial o each bar clearly audible. Distribute the pitches as ollows: lower pitch on Vib. 1 to Channel 1, higher pitch on Vib. 1 to Channel 2, lower pitch o Vib. 2 to Channel 3, higher pitch o Vib. 2 to Channel 4 (omit the sub in each case). Ampliy heavily. Pick 4 pitches on the Glockenspiel that relect the 4 th, 5 th, 6 th, and 7 th partial o the Fund. Cymb. undamental pich. Assign those notes to the low register o Glock. Pick 4 pitches on the Crotales that relect (in approximation) the 8 th, 9 th, 10 th, and 11 th partial o the Fund. Cymb. Assign them to the high register o crotales. Pick 2 pitches o the bowed Vib. 2 that correspond in the same register to the apparent high partials o the chosen low register pitches o the Vib. 1. Notation: Any rhythmic groupings in the piece are to be reerred to the quarter note = 60 tempo. Working with stopwatch is necessary or perormance. Sections are timed, with general timing indicated by the large markings. The time marks at the end o each section (separated by the dashed bar line) are indicated by the smaller time marks within brackets. The starting and ending points o gestures within the sections are indicated by the smallest markings. Ending points have small vertical marking underneath the number. Continue playing indicated sound until the end o arrow. Continue playing indicated group o sounds until the end o the large arrow. The points o exact synchronization are indicated by the vertical dashed arrows.

177 Repeat the gesture as notated, using the rhythmic groups rom the box in random order. The rhythmic indicators do not have to be grouped according to their tuplet number but should be treated more as an indicators o speeds and used in any desired coniguration. The elements in boxes should be used more or less in the same amount. Swap quintuplet to quarter note, sixteenth note to hal note, etc. at the indicated time. Rub the contact-miked bars o the vibraphone (lower, higher) with hard plastic mallets in a circular motion going rom higher nod to the lower (close to the contact mic). Change the pressure o the mallet ad lib rom extremely light (using only the weight o the mallet itsel) to very heavily pressed (in which case the sound should result in a change o texture and a slight bend o pitch). The gesture should be started without the noticeable sound o touching the bars with mallet heads (which will be challenging provided the heavy ampliication). Dynamics are controled by the speed o rubbing. Cymbal Harmonic Release : bow on cymbal astly rom nothing to the orte dynamic (only one bow stroke) placing your inger (or a ew) close to the bell, or muling the cymbal slightly close to the bowing area, to make its high partial (or partials) audible. At the dynamic tip o the ast bow stroke release the bow and ingers letting the cymbal ring with the achieved harmonic (or wash o harmonics) or as long as possible. I the gesture repeats, try to excite dierent harmonics with each stroke, alternating occasionally with the undamental or low hum. Same as above but with a spin. Spin the cymbal (using the bell) continuously, slowing down the spins as the sound decays.

178 Play the notes rom the box in random conigurations using the provided speed indicator. Grace notes indicate playing a passage alling as ast as possible on random notes inishing at exactly 2 seconds. The steams o the notes indicate the range o the passage (entire range in example 1, or the highest register only in example 2). Dynamics with quotes are to indicate the lightness o touch on the instrument. The resulting sound might be much louder than the dynamic marking i the instrument is ampliied. Mallet choices: Pipes and bell plates are to be played with sot plastic xylophone mallets (such as Becker Blues ). The aim is to get loud, ull sound without the piercing high partials that start to be present ater a certain point o hardness. Glock, Crotales, and Medium bells are to be played with brass or aluminum mallets. Vibes, in the case o the ast, high register passage in 5:40 should be played with medium hard plastic mallets or ultra hard vibe mallets (like Balter Yellows ). The sound needs to be piercing! The cymbal strokes or tremolos should be played with medium-sot timpani mallets. The mallets as well as the touch should be light, due to the heavy ampliication (hence the choice o timpani mallets over the marimba mallets). They also need to be sot enough to hide the separate strokes o the tremolo, though hard enough, and with small enough mallet heads, to engage the cymbal with the extremely light touch. Gongs are to be played with medium-sot vibe mallets.

179 Prc. 1 Metal pipes 1 Prc. 2 Metal plates Prc. 3 Medium bells Prc. 4 Metal pipes 2 Met. Pip. 1 Met. Plts. Med. Bls. Met. Pip. 2 Met. Pip. 1 Met. Plts. Med. Bls. Met. Pip. 2 q = 60 sempre 0:00" 0:30" or Mantra Percussion Bell Sanctuary or Percussion Sextet and Live Electronics with sot plastic mallets 3 5 with sot plastic mallets 3 5 with brass mallets 3 5 with sot plastic mallets 3 5 1:00" L.V. sempre L.V. sempre L.V. sempre L.V. sempre 5 35" 1:05" 5 40" 1:10" 5 45" 1:15" 5 50" 1:20" Tomasz Arnold [30"] [1:00"] [1:30"] Copyright 2015 Tomasz Arnold

180 2 Met. Pip. 1 Met. Plts. Med. Bls. Met. Pip. 2 Met. Pip. 1 Met. Plts. Med. Bls. Met. Pip. 2 Prc. 1 Met. Pip. 1 Prc. 2 Met. Plts. Prc. 3 Med. Bls. Prc. 4 Met. Pip. 2 1:30" m m m m 2:00" mp mp mp mp 2:30" mp mp mp mp Prc. 5 with hard plastic mallets pressure changes ad lib. Vib :35" 3 1:40" 1:45" 3 3 1:50" [2:00"] [2:30"] 2:10" rit. _ 2:15" rit. 2:20" rit. 2:05" rit. 2:40" 2:45" 2:50" _ 2:35" [3:00"]

181 Prc. 6 Crt. Prc. 2 Glc. Prc. 1 Met. Pip. 1 Prc. 3 Med. Bls. Prc. 4 Met. Pip. 2 Prc. 5 Vib. 2 Prc. 6 Crt. 3:00" with brass mallets [3:10"] [3:40"] with brass mallets m mp 3:40" m L.V. [4:10"] accel. _ pp Harm. Cymb. 1 3:02" 3:02" 3:03" Prc. 3 Vib. 1 move to the instrument 3:20" with bow 3:20" with hard plastic mallets pressure changes ad lib. p 3 Prc. 2 Glc. Prc. 1 Harm. Cymb. 1 accel. _ pp p L.V. Lower the cymbal stands o both Harm. 1 and 2, ater the instruments stop ringing Prc. 4 Harm. Cymb. 2 Prc. 3 Vib. 1 Prc. 5 Vib. 2 with bow L.V.

182 4 Prc. 6 Crt. Prc. 2 Glc. Prc. 3 Vib. 1 Prc. 5 Vib. 2 Prc. 6 Crt. Prc. 2 Glc. Prc. 3 Vib. 1 Prc. 5 Vib. 2 Prc. 6 Crt. Prc. 2 Glc. Prc. 3 Vib. 1 4:10" accel. _ 5:10" accel. _ p accel. _ 4:40" p 4:20" rit. mp accel. _ mp m rit. _ m m accel. _ rit. pp 5:00" 6 accel. _ Prc. 4 5:20" Med. Bl. rit. _ 5'20" 6 [4:40"] mp mp m [5:10'] [5:40"] 6

183 Prc. 6 Crot. 5:40" 5:42" L.V. 5 [6:10'] Prc. 2 Glock. 5:42" L.V. Prc. 5 Met. Pl. Prc. 4 Med. Bl. 5:42" L.V. 5:42" L.V. Prc. 3 Vib. 1 Prc. 1 Fund. Cymb. Prc. 1 Fund. Cymb. Prc. 4 5 up Cymb. Prc. 1 Fund. Cymb. Prc. 5 Harm. Cymb. 1 Prc. 4 5 up Cymb. Prc. 1 Fund. Cymb. rit. with plastic mallets 6:10" "p" "p" pp "p" 6:40" 7:10" 5:42" L.V. with medium-sot timp. mallets "p" with medium-sot timp. mallets [6:40"] [7:10"] pp [7:40]

184 6 Prc. 5 Harm. Cymb. 1 Prc. 4 5 up Cymb. 7:40" rit. pp [8:10] Prc. 1 Fund. Cymb. Prc. 3 Vib. 1 Prc. 5 Harm. Cymb. 1 "p" 8:10" rit. (no pressure changes, always light) [8:40"] Prc. 6 Harm. Cymb. 2 rit. rit. Prc. 4 5 up Cymb. pp Prc. 1 Fund. Cymb. Prc. 3 Vib. 1 Prc. 5 Harm. Cymb. 1 r it. _ "p" 8:40" (always light) rit. [9:10"] Prc. 6 Harm. Cymb. 2 Prc. 4 5 up Cymb. pp rit. Prc. 1 Fund. Cymb. "p" r it.

185 Prc. 3 Vib. 1 Prc. 5 Harm. Cymb. 1 9:10" rit. morendo _ (decrease the dynamics, speed o the spin, and requency o appearence) 7 [9:40"] Prc. 6 Harm. Cymb. 2 Prc. 4 5 up Cymb. pp rit. morendo (decrease the speed o spin only) Prc. 3 Vib. 1 Prc. 2 Vib. 2 Prc. 6 Harm. Cymb. 2 9:40" [10:10"] rit. _ with two bows morendo _ (decrease the dynamics, and requency o appearence) p Prc. 4 5 up Cymb. pp Prc. 2 Vib. 2 10:10" with two bows p [10:40] Prc. 6 Harm. Cymb. 2 morendo 10:25" Prc. 4 5 up Cymb. pp

186 8 Prc. 3 Met. Pip. 1 Prc. 6 Met. Pip. 2 Con la misura q=60 6 m mp p m mp Prc. 2 Vib. 2 Prc. 1 Gong 1 Prc. 5 Gong 2 Prc. 4 5 up Cymb. Prc. 3 Met. Pip. 1 p with medium-sot vibe mallets mp with medium-sot vibe mallets mp pp Prc. 6 Met. Pip. 2 Prc. 2 Vib. 2 Prc. 1 Gong 1 Prc. 5 Gong 2 Prc. 2 Vib. 2 Prc. 1 Gong 1 Prc. 5 Gong 2 p pp pp p p ppp ppp pp pp

187 SHIFT Fajrant! or solo percussion and ixed media Tomasz Arnold

188 Perormance notes:

189 *1 Chóng zuò Zhè zhǒng Gōngzuò Shì yào, Chóng zuò Zhè men Ràng de Gōngzuò, RénYǒu Rén de Zuòǎ I can't do anything. For this kind o job all I can do is keep working hard. *2 Byliśmy bardzo pewni siebie, że kolumna stanie w najlepszym porządku, ponieważ nasi inżynierowie, nasi majstrowie wiedzieli jak to zabezpieczyć żeby kolumna poszła do góry. - We were very conident that the column will stand in the orderly ashion because our engineers, our oremen knew how to secure it so it goes upwards. *3 Xià Yǔ tiān Dàjiā dōu Lòushuǐ ma, Yīdìng huì Děngzhe ma, Wánshì Dàoshi dé huīchén, Yīdìng huì Gǎn biàn yé xià, Chóng zuò yé gè hǎo de Gōngzuò de ān ma. - In rainy days water leaks, and there is dust everywhere. The environment needs to be improved or a better working area. *4 Start using shoot glasses take two empty shoot glasses and hit them against each other. Raise your hands high above the set up so the audience can see it. Alternate between hitting shoot glasses against each other and using them to hit other instruments with. At that point in the piece you can still use mallets but you should keep at least one shoot glass in your hands until 8' 14. *5 Kid: Jejku! Zobacz sobie na palec. Krew ci leci! Krew ci leci! - Oh no! Look at your inger. It's bleeding! It's bleeding! Man: Leci tak... - It's bleeding, yes... Kid: Dlaczego ci leci? - Why is it bleeding? Man: haha! Daj buźki Haha! Give me a kiss. Kid: Ty ciężko pracujesz chyba! - You work hard, aren't you? Man: Tak, pracuje! No, a ty...? - Yes, I work. What about you? Kid: Ale masz brudne ręce! - Wow, your hands are so dirty! Man: No, toż pracują takie! - Yea, because I work with them! Kid: A ja też mam brudne przez ciebie. - I got them dirty too rom you. Man: Po moim, po moim. My ault, my ault. Kid: Ktoś cię tu woła przez radio. - Somebody is calling you on the radio. Man: Tak, możesz pogawarić. Kak skażysz, oni budiet. Yes, you can talk to them. They will do whatever you tell them. Kid: Oni mówią po Rosyjsku? - Are they speaking Russian? Man: Aha, rozumieją, po Polsku mów. Yea, but they understand Polish. Speak Polish to them. Kid: Muszę biegnąć. I've got to run. *6 Trash the beer can in the provided time rame pick the beer can with your right hand. Move it slowly high up above your head, and above the set- up. Slowly squeeze your hand squishing the beer can with the recognizable sound. Make sure the gesture is very slow and deliberate. Ater there is no more room to squeeze, throw the beer can behind you, so it hits the loor with sound. Try to have all the sounds rom the beginning o the gesture to the throw at the end somehow rhythmically coordinated with your improvisation, so they don't appear random but rather as an integrated part o the soundworld.

190 *7 Slowly decrease the density and dynamics o the improvised part until you stop. *8 Podaję wyzwanie towarzyszowki Markiewskiemu, że ja, bezpartyjny górnik chodnikowy Słupik Józe rozumiał zadanie sześcioletniego planu. Zobowiązuję się w razie moich ładowaczy wykunać w tym samym okresie dwieście pięćdziesiąt dwa metry bieżącego chodnika. I my potrzebujemy więcej takich przodowników pracy, żeby się znalazły takie jeszcze jak jo jest! Żeby my mu poradzili udowodnić i nasze siły dać! A nie żeby Markiewka tylko, tylko my będziemy pracowali!! - I challenge comrade Markiewski that I, nonpartisan pavement miner Słupik Józe understood the task o the six-year plan. I commit mysel to make, in the same amount o time, two houdred ity two meters o the current pavement. And we need more such work leaders like me! So we prove to him, and give him our strength! So it's not just Markiewka but we are going to work!! *9 Yì baǐ sān, yì baǐ sì, Yě jiù Xiūxí Xiūxí de ma, Kǒngbù néng Tiāntiān Jiābān Wǒmen Shòu bùliǎo, Jiùshì Zài yān Jiābān Wǒmen Shòu bùliǎo de hours. We must also rest. We cannot work overtime every day. Not even those who want to can do that. *10 Zhèyàng zi ha, Zhèyàng zi Tā huì Bǎ nǐmen Chǎo diào de, Chénlún rèn Bù kěyǐ Yǒu gōnghuì de. - I we did that, we would be ired. They would never allow an independent union in the actory.

191 For Noè Rodrigo SHIFT - Fajrant! or Solo Percussion and Fixed Media Fixed media sounds Harsh, heavy, and rigit q=85 02" uh! Tomasz Arnold Percussion F.M.S. 13" ah! Perc F.M.S. Perc. 24" ah! Copyright 2016 Tomasz Arnold

192 2 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 34" argh! " " uh! ' 03" ah!

193 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 1' 12" oaah! 7 9 1' 18" A Chóng zuò Zhè zh ǎ ng Gōngzuò Shì yàc, Chóng zuò Zhè men Ràng de Gōngzuò, RénY ǎ u Rén de Zuò ǎ 1' 24" * 1 (see perormance notes) 3 1' 27" Byliśmy bardzc pewni siebie, że kclumna stanie w najlepszym pcrządku, pcnieważ nasi inżyniercwie, nasi majstrcwie wiedzieli jak tc mp 1' 41" sub mp sub mp sub mp sub mp 3 sub (accents only) * 2 zabezpieczyć żeby kclumna pcszła dc góry Xià Y ǔ tiān Dàjiā dōu Lòushu ǎ ma, Yīdìng huì Děngzhe ma, Wánshì DàCshi dé huīchén, Yīdìng huì G ǎ n biàn yé xià, sub mp sub mp 5 sub sub mp mp 5 sub 5 mp 7 7 1' 55" Chóng zuò yé gè h ǎ C de Gōngzuò de ān ma * 3 Production is back on B 1' 58" mp mp mp 3 5

194 4 F.M.S. 2' 07" Perc. F.M.S. 2' 15" Perc. F.M.S. 2' 24" Perc. F.M.S. 2' 34" Perc mp mp mp 5 6 mp mp sim mp mp

195 F.M.S. Perc. 2' 46" ah! F.M.S. Perc. 2' 53" mp mp mp F.M.S. Perc. F.M.S. 3' 01" 3' 10" m ah! m m ah! ah! 7 sim. Perc m m m 5 6

196 6 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 3' 18" 3' 28" 3' 37" 3' 43" ah! ah! ah! m m 3 m ah! ah! m m 7 m ah! m 3 ah! ah!

197 7 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 3' 49" ah! ah! ' 56" C ah! ' 59" Meno mosso (q=45) Feel some reedom and lightness Ringing bell 4' 04" 4' 16" with triangle beaters ' 20" Triangle pitch ad lib mp

198 8 Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 4' 36" Your rhythm doesn't have to be 100% precise anymore ' 52" 5' 08" 9 Bottle pitch ad lib ' 57" 7 7 simile (improvise on triangles) D 5' 20" 5' 28" ambient noise: voices, clapping, laughter etc. sim Free improvisation on triangles, bottles, snare drum, and miscellaneous percussion with ree choice mallets. Try to interact with the ixed media track. 5' 36" 5' 50" ой как хорошо, как хорошо... music, laughter, qué bueno... 6' 01" опа даваи, опа даваи даваи...

199 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 6' 08" spanish talking, music, laughter. 6' 22" 9 6' 37" бутылка водки стоит двести пятнадцать крон... laughter. Clapping, spanish talking, laughter. 6' 54" даваи, даваи etc. scream, loud music. russian talking, music, laugher, loud music, scream. 6' 58" Start using shot glasses * 4 7' 19" Kid: Jejku, zcbacz scbie na palec. Krew ci leci! Krew ci leci! Man: leci, tak... 7' 32" * 5 Kid: DlaczegC ci leci? CC? Man: Haha, daj buźki! Kid: Ty ciężkc pracujesz chyba? Man: Tak pracuje! NC, a ty...? Kid: Ale masz brudne ręce! Man: NC, tcż pracują takie! etc. (see perormance notes) 8' 14" spanish talking, laughter, music etc. 8' 22" heavy breathing * 6 Trash the beer can some time in this section. take chopstick

200 10 E Like a slightly slow heartbeat (q=55) F.M.S. 8' 53" Perc. pp * 7 (Rim.) F.M.S. Perc. 9' 24" take stick with the ree hand F.M.S. 9' 45" Perc take the other stick 3 F F.M.S. 10' 04" Perc. 10' 06" p sim. PCdaję wyzwanie tcwarzyszcwi Markiewskiemu, że ja, bezpartyjny górnik chcdnikcwy Słupik Józe accel (accents alwys sz)

201 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. 10' 54" Perc. rczumiał zadanie sześcicletniegc planu. ZCbCwiązuję się w razie mcich ładcwaczy wykunać w tym samym Ckresie dwieście pięćdziesiąt dwa metry bieżącegc chcdnika. I my pctrzebujemy więcej 6 11 mp m takich przcdcwników pracy, żeby się znalazły takie jeszcze jak jc jest! Żeby my mu pcradzili udcwcdnić, i nasze siły dać! A nie żeby Markiewka tylkc, tylkc my będziemy praccwali!!* 8 10' 46" G Harsh again! q=85 3 SD CB

202 12 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 11' 03" 9 ah! SD CB TC ' 17" 11' 27" 5 Yì ba ǎ sān, yì ba ǎ sì, SD CB/TC argh! Jiābān W ǎ men Shòu bùli ǎ C, Jiùshì Zài yān Jiābān W ǎ men Shòu bùli ǎ C de BNG 5 SD CB/TC/BNG Yě jiù Xiūxí Xiūxí de ma, Kǎ ngbù néng Tiāntiān BD ' 37" SD CB/TC/BNG/BD BL 3 SCme C the wcrkers, they m 9

203 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 11' 46" want tc save their mcney they, in early mcrning, they didn't eat their breakast. Ater the lcng time C wcrking maybe they eel very tired, and then eel ' 52" unccncic... scme sickness Cnly. NC big deal Very sccn she will reccvery ' 00" SD CB/TC/BNG/BD/BL BTL+MSP mp 5 12' 08" Zhèyàng zi ha, Zhèyàng zi Tā huì B ǎ n ǎ men Ch ǎ C diàc de, Chénlún rèn Bù kěy ǎ Y ǎ u gōnghuì de SD CB/TC/BNG/BD/BL/BTL+MSP TRG

204 14 F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. F.M.S. Perc. 12' 16" p 12' 30" Oh, this is nct a reascnable request! This is nct a gccd thinking! TC wcrk less, get mcre mcney? ' 44" The demand, I think, rcm the wcrker is even bigger than the buyer. The wcrker ' 58" always has endless demands....hum

205 F.M.S. 13' 09" They preer nc hclliday. They preer ccntinue wcrking. Perc pppp 15

206 Tomasz Arnold Isolation Materialism Appearance

207 Perormance Notes Instrumentation: Flute Drum-set Piano with MIDI keyboard as a sampler Violoncello Electronic equipment: Miniature cardioid condenser mic or lute ampliication Two condenser mics or piano One overhead stereo mic or drum-set (or a pair o condensers) One dynamic mic or cello MIDI keyboard Laptop with interace and Max/MSP Mixer with at least 8 ins and 2 outs Pair o speakers with subwooer Notation and instrument-speciic instructions: Flute: *1 Highest possible note achieved by strong overblow and with lutter tongue. *2 Slap tongue. *3 Gradual shit rom regular to lutter tongue. *4 Blow air in.

208 *5 Highest possible note achieved by strong overblow and with slap tongue. Drum-set: *1 Speed up gradually rom 32 nd notes to as ast as possible. Piano and Sampler: Sampler is operated by the piano player. 4 octave MIDI keyboard is recommended as the trigger but other options are certainly available as well. The MIDI trigger is to be connected to a laptop with Max/MSP patch running. The samples are displayed as ollows: Bass samples are triggered by the MIDI numbers ranging rom 36 to 47 (lowest octave on the 4 octave keyboard). The perormer can press any note within that range to trigger a sample. Beat samples are Mid. Chords samples are High illing samples are rom Number 84 (the highest note on the 4 octave keyboard with MIDI displayed rom 36) triggers the ixed media track that starts in measure 106.

209 As shown above, the sampler notation relects the position o the samples relative to the 4 octave MIDI keyboard. Graphic visualizations are added next to each o the notes to help perormer quickly recognize each sound beore it gets triggered. The samples are triggered in succession within their assigned octaves. The perormer can reset the sampler to any given rehearsal mark as shown in the Max patch. In addition they can also skip one sample or repeat the previous one (which could serve a purpose in case o perormance emergency). The number box on the right shows the sample number that's about to be triggered and can also be used to manually set the sampler to any position. When setting samples manually the chosen number needs to be conirmed with the set button. Letters G, H, I and J set the ixed media track to the position in accordance with the letter. Fixed media can also be stopped at any point using the o button. *1 Scrape the ew lowest strings inside the piano with a credit card or a piece o lat plastic. Move rom slow to ast (the initial speed should be slow enough to make single threads o the piano strings audible as they are scraped with the card). *2 Pluck the strings with credit card or guitar pick in between the upper screw and the nodal point or strings in the range rom Eb5 to G6 *3 Scrape the lowest string o the piano with credit card or a piece o lat plastic. The speed should be very slow making single threads o the string audible one by one in groups o ca. 1 to 4 with brie rests in between.

210 *4 Fast scrape on as many strings as the credit card can reach. *5 Keyboard cluster in the highest register. A sheet o paper should be permanently attached in between the strings o the highest register to allow the cluster to produce a slightly buzzing sound. *6 Hit the lowest strings o the piano lat with the palm o your hand. *7 Fast scrape on the highest strings with threads (F2 - A2) *8 slide the two highest strings with threads (Ab2 + A2) with a plastic xylophone mallet. *9 Slide the strings with the edge o the credit card pressing the strings irmly to produce a squeaking/whistling sustained sound. The strings used are ones without threads in the register rom Ab4 to D5. *10 Pluck the strings with credit card or guitar pick in between the upper screw and the nodal point or strings in the range rom C4 to D5

211 Violoncello: *1 On the bridge (dierent durations). Unrecognizable pitch. *2 Gliss rom the second highest note to the highest note. *3 Overpressure on the C open string with unrecognizable pitch. Slow bow movement with requent brie rests. *4 Hal overpressure. Indicated pitch still partially recognizable. *5 Gradual shit rom hal to ull overpressure. *6 Full overpressure on the highest possible note.