STRAIGHT, CURVING, COLORFUL: THREE ARCHITECTS Steven Thomas Keer A Thesis Submitted to the Graduate College o Bowling Green State University in artial ulillment o the requirements or the degree o MASTER OF MUSIC August 2006 Committee: Marilyn Shrude, Advisor Elainie Lillios
ii ABSTRACT Marilyn Shrude, Advisor Straight, Curving, Colorul: Three Architects or clarinet, cello, and couter musically exlores the designs o buildings by Mies van der Rohe, Frank Gehry, and Rem Koolhaas in three movements. Straight is based on Crown Hall by Mies van der Rohe on the Illinois Institute o Technology (IIT) caus. Curving is based on the Jay Pritzker Pavillion by Frank Gehry at Millenium Park, and Colorul is based on the McCormick Tribune Caus Center by Rem Koolhaas at IIT. The musical language o the iece incororates salient design eatures and aesthetics o each building as structural elements used to develo a coosition derived rom but not literally tied to each building.
iii ACKNOWLEDGEMENTS I would like to thank Beth Marshall and Jon Augustine or reading through my iece and roviding sound material. I would also like to thank Burton Beerman or heling me with clarinet ingerings. I would like to give secial thanks to my committee member, Elainie Lillios, or listening critically and roviding many helul suggestions, as well as insiring me as a cooser, an educator, and a member o the academic community. Finally, I would like to thank Marilyn Shrude or sharing her immense love and knowledge o music with me, or being suortive, and or always ushing me to achieve.
Instructions or Perormance iv General Notation dimuendo al niente crescendo dal niente gradual increase/decrease in teo reeat notes in box as ast as ossible or the duration o the solid line glissando should last entire duration o note grace note in arenthesis shows the destination note or a gliss./bend without ilying duration senza misura time signature notes without stems should be held or the duration o the solid line arrows indicate a cue rom another instrument. In this exale, the clarinet is cued by the cello N.B. In senza misura sections, accidentals aly only to the note beore which they stand, excet in a series o reeating notes.
v Clarinet Cello indicates slow bend between two notes timbre trill suggested ingerings are indicated but erormers should eel ree to use more coortable ingerings i necessary SP ST sul onticello sul tasto move to sul ont.//sul tasto over duration indicated by the arrow sna (Bartok) izz. luttertongue all harmonics sound as written throw bow on the string to roduce bouncing eect circ. bowing slowly move the bow in a circular motion between sul onticello and sul tasto
Electronics Required Equiment vi Both the clarinet and cello are lightly aliied with microhones. Instrument levels, the live electronic rocessing and re-recorded sounds are controlled using Max/MSP. The acoustic instruments should sound stronger in the mix with the electroacoustic coonent serving as an extension o the instruments. The iece requires a sound engineer to set an aroriate reliminary mix, and to adjust or any erormance roblems (e.g., eedback); however, the erormers control the execution o cues. Pedal Marks Both erormers control the electroacoustic coonent o the iece using two MIDI ootswitches (one or each layer). Pedals should be ressed at the beginning o the note above the edal number. In ety bars, ress the edal at the beginning o the bar unless otherwise indicated. Numbers are sequential by cue, not by instrument. Electroacoustic Notation The couter sta in the score is meant to give the erormers a rough sense o the electroacoustic coonent o the iece. It is in no way a diusion score; however, it should serve as a visual cue as to seciic re-recorded gestures and live rocessing. Seciic itches are only indicated where relevant. Macintosh or PC couter with Max/MSP 4.5 or later (or runtime equivalent) installed. Contact the cooser at Stevenkeer1981@yahoo.com or the latest coy o the Max atch Audio interace with 2 XLR inuts (reas), 48v hantom ower, stereo outut 2 condenser microhones (or suitable equivalent) 2 MIDI oot edal non-continuous controllers (e.g. keyboard sustain edal) MIDI-couter interace (only 1 ch. inut needed) Voltage to MIDI converter with 2 1/4 inuts and 1 MIDI outut, you may also run oot edals through a MIDI keyboard High quality stereo air o seakers (active monitors reerred) 2 stage monitor seakers (1 or each instrument) Setu Clarinet sits stage right o the cello. Clarinet should be atched through channel 1 (let) o the audio interace, cello through channel 2 (right). Perormers should ace each other as much as ossible to avoid eedback. L R ch 1 ch 2 Clarinet Cello monitor 1 monitor 2
Program Listing: Straight, Curving, Colorul: Three Architects I. Straight II. Curving III. Colorul vii Duration: c. 15 Program Note: This iece exlores musically the designs o Mies van der Rohe, Frank Gehry, and Rem Koolhaas, three architects I became acquainted with while living in Chicago. Each movement establishes a mood beitting that architect s work. Though these movements are not connected, thematic material ervades the overall structure, as similar design elements carry across their work. The architecture o Mies van der Rohe consists o magniicent black steel beams in erendicular lines. His buildings, such as those on the caus o the Illinois Institute o Technology (IIT), are a testament to modernism. Accordingly, movement one consists o short and reetitive blocks. Rhythmically, this movement shits between a aster steady teo and two slower, reer teos. Movement two exlores the curvilinear orms o Frank Gehry s architecture. Melodic and rhythmic atterns in the overall structure mimic these curved lines. Curves are also reresented on the motivic level through the bending o itches (e.g., curving the straight line o a held note) and erormance techniques such as circular bowing. The movement s overall contour consists o a attern similar to a sine wave, reresenting a circle over time. Rem Koolhaas s architecture, such as the student center at IIT, eloys many o the erendicular design elements o Mies, while venturing into the curved orms o Gehry. Since Koolhaas uses color to the greatest extent o these architects, movement three incororates rich harmonies, a musical characteristic I ind analogous to color. This movement consists o some o the short reetitive blocks o the irst movement; however, certain reetitions move in unexected directions.
Clarinet in Bb Transosed Score Violoncello 1 * Mechanically q = 108 Straight, Curving, Colorul: Three Architects I. Straight 2 Steven Keer Couter Bouncing sound *ress edal beore laying Low electronic sound 9 4 5 Co. High electronic sound
2 18 izz. Co. 2 Co. 6 arco High electronic sound 7 izz. 8 Sna izz. Low electronic sound
0 Brutally q = 80 Co. arco 9 gliss. sz 10 Comb ilter sul G 6 sz sul G 12 11 Co. Elec. sound based on vc Comb ilter o
4 41 sz Co. 1 Machine sounds, delay lz. sz 14 4" izz. sz Co. Delay o
5 49 Mechanically q = 108 arco Co. 15 Bouncing sound 54 lz. sz lz. 16 Co. High electronic sound Comb ilter
6 62 lz. sz 17 sz Co. Comb ilter o Bouncing sound 18 Co. 70 19 Bouncing sound Brutally q = 80 lz. 20 sz High electronic sound Comb ilter on sul G 21 Comb ilter o
7 rit. oco a oco 77 Co. Delay on Delay o 85 Sluggishly q = 40 sub. lz. accel. lz. sz 22 gliss. gliss. 2 sub. 24 Co. Dense chords Comb ilter on
92 q = 84 q = 40 8 SP scratchy gliss Co. 94 bend ad. lib. lz. Co. Sul G gliss. 25 Sul C SP gliss. SP 26 Machine sounds
9 100 8" Mechanically q = 108 27 Co. Chords 105 1" Co. 28 Playback o recorded sounds
II. Curving 10 Clarinet in Bb Violoncello 1 2 Mysteriously q = 60 gliss. Sul G 4 rit. rit. gliss. a teo 5 a teo 7 rit. rit. Couter Metallic sound Delay on Water sound rit. a teo 7 a teo 5 7 5 6 a teo s rit. a teo Sul G gliss. Co. Metal hit gliss.
11 12 7 8 SP Sul C sz 9 gliss. Co. Metal hit gliss. Comb ilter on Electronic gliss gliss. 18 10 11 s circ. bowing 12 1 Co. Comb ilter o Metallic sound Delay on Delay o Delay on
E F# 12 24 esressivo 15 16 esressivo 14 17 Co. Water sound 0 Aggressively q = 84 izz. s s s 18 19 Co. Comb ilter o Delay
Rubato 5 20 5 1 Rubato arco sz Co. Delay o Comb ilter slow ade in 8 c. 5" sub. SP 21 Co. Elec. sound rom vc
14 Lightly q = 72 Co. 42 sz 22 ad. lib. 5 5 Comb ilter ade in Comb SP 7 sz sz 2 Sul C s 9 gliss. o, delay on sz 44 5 ricochet ad. lib. SP Sul C gliss. 24 Co.
15 46 bend bend 25 26 27 28 sul D sul G 5 SP sul C 7 Co. 47 29 Exressively q = 72 0 1 accel. Co. Water sound
16 5 Aggressively q = 84 Sul C 5 2 sz Co. Comb ilter on Delay on 56 lz SP cresc. oco a oco Co.
17 59 4 sz Co. Metallic sound 61 5" 5 Co. gliss. gliss.
Clarinet in Bb Violoncello 1 Couter Energetically q = 12 s 2 izz. s Chordal bursts s III. Colorul s 4 s arco 18 9 5 SP c. 5" molto legato molto legato ord 6 Co. Comb ilter on Chordal burst
19 Co. 17 5 7 Bouncing sound 8 sul G 2 sz 5 sz izz. 9 5 10 arco izz. 11 Co. Delay on Delay o Bouncing izz.
20 1 5 arco izz. arco 12 Co. 7 5 7 Co. 1
Saringly q = 108 4 sz 21 14 15 Co. Chordal bursts Delay on 5 *as ast as ossible c. 5" SP *as ast as ossible 16 Co. Delay o
22 57 Fluidly q = 84 sz circ. bowing 5 sub SP sz 17 18 Co. Drones 60 sz sz 19 ST SP ST SP (gliss.) Co.
2 62 Co. 20 sub. sz sz 7 21 SP ST SP Co.
24 5 lz. s 5 s 5 Co. 67 (q = 84) Lyrically q = 60 22 sul D 2 izz. 24 arco Co. Comb ilter on
25 7 25 izz. arco 26 Co. Comb ilter o Fluidly q = 84 76 accel. 27 Co.
26 78 Energetically q = 12 sz sz sz 28 sz sz 5 Co. Chordal burst 85 29 7 Co. Buildu o elec. sounds
27 Forceully q = 60 91 0 5 1 2 s Co. 94 6 4 5 Co.