Dysphonia, for solo violin, chamber ensemble and live electronics

Transcription

1 University of Iowa Iowa Research Online Theses and Dissertations Spring 2015 Dysphonia, for solo violin, chamber ensemble and live electronics Jason Andrew Palamara University of Iowa Copyright 2015 Jason Andrew Palamara This dissertation is available at Iowa Research Online: Recommended Citation Palamara, Jason Andrew. "Dysphonia, for solo violin, chamber ensemble and live electronics." PhD (Doctor of Philosophy) thesis, University of Iowa, Follow this and additional works at: Part of the Music Commons

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23 INSTRUMENTATION Flute Alto Saxophone in Eb Tenor Saxophone in Bb Trombone Percussion (two players): Percussion 1 Tam-Tam*, Floor Tom, Crash Cymbal*, Snare Drum, 2 Bongos, Tambourine, Hi-Hat Percussion 2 Tam-Tam*, Large Bass Drum, Ride Cymbal, Floor Tom, Crash Cymbal*, Snare Drum, Kick Drum, Conga Drum, Hi-Hat, Tom Drum *shared by both percussion players Piano Laptop (PC preferred 1, with at least 6 GB of RAM, Windows 8.1 or higher preferred) (HIDI, version.5.15 or higher / Max5 or higher, or Max5 Runtime 14 or higher, USB footswitch and high quality two channel audio interface), Laptop cues performed on the footswitch by a human performer Dancer/Glove System 15, worn by a dancer Solo Amplified Violin (preferably a clip on pickup, not a microphone) Laptop (PC/Windows 8.1 or higher or Mac/OSX or higher, running Max5 or higher), Keith McMillen 12STEP USB MIDI Footswitch Amplified Viola (preferably a clip on pickup, not a microphone) Amplified Contrabass (preferably a clip on pickup, not a microphone), C Extension preferred, or with E string tuned down to C)

24 SOUND REINFORCEMENT REQUIREMENTS Each instrument (or at the very least, every two instruments) must be supplied with a monitor speaker, and Laptop-generated sounds. It is suggested that a digital mixer such as the Yamaha LS9 or better be used. This piece requires an audio engineer, running sound throughout the rehearsals and the performance. It is intended that this piece be played at a very loud volume, but that the sound of each instrument is clearly and distinctly audible.

25 10" DYSPHONIA Transposed Score Mvmt. I. The Bastards in Bondage 10" Jason Palamara Flute Slowly, mournful and mysterious, semi ad lib. 2 Alto Sax Tenor Sax Trombone Percussion 1 10" Slowly, mournful and mysterious, semi ad lib. 10" 2 Percussion 2 Piano HIDI (Sound Files) Violin Footswitch: Digital cloud and distortion: o 10" Slowly, mournful and mysterious, semi ad lib. 10" sotto voce, molto esspressivo 2 Viola Double Bass* 1

26 5" 5" 4 5" 5 5" 5" 4 5" 5 5" 5" 4 5" 5 o 2

27 6 " 5" 7 8 5" 6 " 5" 7 8 5" 6 " 7 5" sotto voce, as before suddenly harsh, menacing " L.H. muting (no pitch)

28 9 4" 10 10" breath only, no pitch key click 9 4" 10 10" Conga, dead stroke Footswitch: Distorted echoes over digital cloud: 9 4" 10 10" pizz. 4

29 11 5" 12 7" breath only, no pitch breath only, no pitch 11 5" 7" 12 Distorted echoes fade away, digital cloud remains: 11 5" 7" 12 arco, L.H. muting (no pitch) 5

30 1 4" " 14 breath only, no pitch 1 4" " " " 14 natural harmonic 6

31 15 7" Continuously pleading and lamenting flutter tongue " Continuously pleading and lamenting 16 2 Bongos 2 Congas Footswitch: (in tempo) Violin pizzicato sounds: 15 7" Low sine wave glissando: Continuously pleading and lamenting 16 pizz. 7

32 To Crash Cymbal, soft yarn mallets 20 Digital cloud and distortion: pizz. 8

33 Crash Cymbal, soft yarn mallets To Tambourine, QUICK! L.V. To Floor Tom, snare sticks, QUICK! Floor Tom, snare sticks Footswitch: Popping sound: (in tempo) Violin pizzicato sounds: Digital cloud and distortion: wide vibrato 2 24 norm arco arco 9

34 Tambourine Floor Tom, snare sticks

35 To Crash Cymbal, snare stick pizz. pizz. 11

36 Crash Cymbal, snare stick L.V L.V. Floor Tom, snare sticks arco 12

37 L.V arco 1

38 L.V. Take soft yarn mallets, QUICK! To 2 Congas, QUICK!

39 Crash Cymbal, soft yarn mallets Congas Hand percussion sound: ATTACCA-->

40 Driving, menacing Mvmt. II. Blood Stagnation 2 Driving, menacing To Hi-Hat, 2 snare sticks, QUICK! 2 L.V. Hi-Hat and Snare Drum, 2 snare sticks To Hi-Hat, 2 snare sticks, Kick Drum, QUICK! Driving, menacing 2 16

41 Hi-Hat, 2 snare sticks Kick Drum

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43 rim shot Low Murky Rumble: 10 natural harmonic

44 L.V

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49 Hi-Hat, 2 snare sticks (L.V. throughout) 0 1 To Snare Drum and Floor Tom, snare sticks, QUICK! Snare Drum and Floor Tom, snare sticks

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53 To Floor Tom and Snare Drum (same sticks), Kick Drum, QUICK! Floor Tom, Snare Drum, snare sticks Kick Drum

54 rim shot

55 L.V

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57 key clicks key clicks 52 5 rim shot To Ride Cymbal, with 2 snare sticks, QUICK!

58 Ride Cymbal, with 2 snare sticks To Hi-Hat, 2 snare sticks Kick Drum sul pont sul pont. sul pont. 4

59 norm. norm Hi-Hat, 2 snare sticks Kick Drum

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61 To Hi-Hat, Snare Drum and Floor Tom, 2 snare sticks, QUICK!

62 Hi-Hat, Snare Drum and Floor Tom, 2 snare sticks 75 rim shot To Tam-Tam, tam-tam beater Large Suspended Bass Drum, bass drum beater, QUICK!

63 (L.V. throughout) Tam-Tam, tam-tam beater Large Suspended Bass Drum, bass drum beater

64 L.V. To Kick Drum, QUICK! L.V. High pitched "optimistic" digital cloud:

65 Hi-Hat, 2 snare sticks (L.V. throughout) 89 Kick Drum

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67 L.V

68 To Tam-Tam, tam-tam beater

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70 pizz. 46

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72 119 10" 5" solo, sweetly, ad lib " 5" " solo, sweetly, ad lib. 5" 120 solo, sweetly, ad lib. ATTACCA--> 48

73 10" Mysteriously anticipating Mvmt. III. Sacrificing the Virgins to Moloch 5" 2 10" Mysteriously anticipating 5" 2 Footswitch: Downward sweeping glissando: Sine waves and feedback: 10" Mysteriously anticipating 5" 2 sul G, flautando, in the background 49

74 5" 6" 4 5" 6" 4 5" 4 6" tone begins to get crunchy, yet still in the background... 50

75 5 Building, growing in intensity... accelerando (follow tempo of ) Building, growing in intensity... accelerando (follow tempo of ) Footswitch: Crunchy bass sound: Building, growing in intensity... accelerando (follow tempo of )

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77 Tam-Tam, tam-tam beater bring out! 5

78 L.V. To Crash Cymbal and Floor Tom, 2 soft yarn mallets Kick Drum Tom-Tom Drum, Floor Tom with snare sticks Kick Drum

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80 Crash Cymbal and Floor Tom, 2 soft yarn mallets Kick Drum L.V. 1 2 High pitched squeal: Low pitched bass thump:

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83 Tom-Tom Drum, Floor Tom with snare sticks Kick Drum 6 6 Fast beep: 6 6 Crunchy bass sound:

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86 To Tam-Tam, scrape with triangle beater, QUICK!

87 5 8" 54 molto decelerando, keep energy level high, do not sync with other players but watch for cue from conductor. 5 8" 54 Tam-Tam, scrape with triangle beater L.V. molto decelerando, keep energy level high, do not sync with other players but watch for cue from conductor. molto decelerando, keep energy level high, do not sync with other players but watch for cue from conductor. 5 8" 54 molto decelerando, keep energy level high, do not sync with other players but watch for cue from conductor. 6

88 55 5" 6" 56 " " 6" 56 L.V. " " 6" 56 " 57 64

89 7" 10" " L.V " 58 7" 59 10" sul G 65

90 10" 10" " L.V. 10" " 10" 61 pizz. 66

91 62 10" 10" 6 10" " 10" Take tam-tam beater, QUICK! L.V " Tam-Tam, tam-tam beater 62 10" 6 10" 64 10" 67 ATTACCA-->

92 Dancer Mvmt. IV. Affliction The timing of this movement is totally ad lib., based on the movement of the dancers Dancer, laying on top of the gurney, raises gloved hand... 2 Gurney begins to move across the stage, from SR to SL)... Activate D.G.S. "Analog" button 2 HIDI 1 Dancer Dancer begins to gesture with the glove (Gurney still moving slowly from SR to SL)... 4 Dancer continues gestures with the glove, (Gurney still moving slowly from SR to SL)... "Change" button ( ) "Change" button ( ) 4 HIDI 5 Dancer 5 Dancer continues gestures with the glove, (Gurney approaches center stage)... 6 Dancer continues gestures with the glove, (Gurney slows for a moment at SR)... "Change" button ( ) "Change" button ( ) 5 sul D 6 HIDI

93 Dancer 7 Dancer continues gestures with the glove, (Gurney begins to move upstage)... 8 Dancer continues gestures with the glove, (Gurney stops at target upstage)... "Change" button ( ) "Change" button ( ) 7 8 HIDI Oct+10 Oct+10 Dancer 9 Dancer pauses gestures, hands down Dancer raises hands in a menacing final gesture... "AI" button* ( ) 9 10 HIDI 7 Dancer 11 Dancer brings hands down to begin Movement V. Watch for cue from dancer to begin Movement V. 11 molto accelerando, louder, crazier, building into next movement... HIDI HIDI fades out... *Note: From this point until measure 87 of Movement V., the System chooses for herself when to trigger the glove sounds) 69 ATTACCA-->

94 Cataclysmically violent with the utmost brutality Mvmt. V. The Neo-Primogenitor 2 Cataclysmically violent with the utmost brutality 2 Snare Drum, with snare stick Floor Tom, with snare stick Kick Drum Loud Bass Drum Sound: Cataclysmically violent with the utmost brutality sul pont., all notes acceptable, AFAP, extremely harsh! 2 70

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104 Snare Drum, 2 snare sticks snares on

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108 * First sound cue for dancers so they can time the end of the piece. 84

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112 * Second sound cue for dancers so they can time the end of the piece. 88

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114 *Third and final sound cue for dancers so they can time the end of the piece. 90

115 "AI" button - OFF!

116 " " 90 Fade out HIDI Glove analog sounds slowly as the lights fade out " 90 92

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118 Hayles, N. Katherine How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press. Iverson, Jennifer Dancing out of the Dark: How Music Refutes Disability Stereotypes in Dancer in the Dark. In Sounding Off: Theorizing Disability in Music, edited by Neil Lerner and Joseph N. Straus, New York: Routledge.. (forthcoming). Mechanized Bodies: Technology and Supplements in Björk s Electronica, Oxford Handbook of Music and Disability Studies, ed. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph N. Straus. New York: Oxford University Press. Knuth, Donald The Art of Computer Programming, Vol. 2. Upper-Saddle River, NJ: Addison-Wesley. Manning, Erin Prosthetics Making Sense: Dancing the Technogenic Body. The FibrecultureJournal 9. prostheticsmaking-sense-dancing-the-technogenetic-body/ (accessed April 20, 2015) Manning, Erin Politics of Touch: Sense, Movement, Sovereignty. Minneapolis: University of Minnesota Press. Manning, Peter Electronic and Computer Music. Oxford: Oxford University Press. Miranda, Eduardo Reck A-Life for Music: Music and Computer Models of Living Systems. Middleton, WI: A-R Editions, Inc.

119 Roads, Curtis, ed The Machine Music. Cambridge, MA: Massachusetts Institute of Technology Press. Rowe, Robert Machine Musicianship. Cambridge, MA: Massachusetts Institute of Technology Press. Schaeffer, Pierre "Acousmatics" in Audio Culture: Readings in Modern Music, ed. Christopher Cox and Daniel Warner. New York, Continuum. Schwartz, Elliott Electronic Music: A Listener s Guide. New York: Praeger Publishers. Winsor, Phil Computer-Assisted Music Composition: A Primer in BASIC. Princeton: Petrocelli Books Winkler, Todd Composing Interactive Music: Techniques and Ideas Using Max. Cambridge, MA: Massachusetts Institute of Technology Press.