wind chimes

CORRESPONDANCES
SHANE HOOSE
A Thesis
Submitted to the Graduate College of Bowling Green
State University in partial fulfillment of
the requirements for the degree of
MASTER OF MUSIC
May 2009
Committee:
Elainie Lillios, Advisor
Mikel Kuehn
Elainie Lillios, Advisor ABSTRACT Correspondances, a work for soprano voice, viola, percussion, and live electronics, explores the intricate timbral relationships that are possible between the human voice, acoustic instruments, processed sounds, and real­time electroacoustic processing. A poem of the same title by Charles Baudelaire comprises the text, which appears in the original French and in the English translation. Baudelaire’s poem emphasizes themes of adventure, imagination, and the richness of nature, which allowed for exploration of a variety of musical characters. The work lasts approximately twelve minutes and contains aleatoric sections, counterpoint, and live electronics. Formally, Correspondances is one continuous movement containing an introduction, through­composed sections determined by the poem’s stanzas, and a closing section. The introduction contains spoken text, aleatoric elements, and a large­ scale crescendo. The through­composed section features the stanzas of text and instrumental and electroacoustic interludes. The closing section recapitulates the opening by presenting similar aleatoric elements and a large­scale decrescendo ending with the vocalist whispering the final lines of text. Melodic and harmonic material is derived from synthetic scales. Melodic gestures and contrapuntal interplay emphasize specific melodic intervals including major sevenths, major sixths, tritones, and minor seconds. The soprano part features extended performance techniques including sotto voce ii
techniques, whispers and speech. The percussion instrumentation includes vibraphone, bass drum, suspended cymbal, tam tam, log drum, and a mounted rainstick. Its timbral palette is enhanced through the use of soft mallets, brushes, and snare sticks. The percussionist controls the electroacoustic portion of the work with a foot pedal. Electroacoustic material is derived from various sources including percussion and environmental samples such as sounds of water, wind, and fire. Along with sound file playback, digital signal processing techniques such as delay, reverberation, and ring modulation modify the acoustic instruments in real time. All processing and sound file playback is accomplished using Cycling 74’s Max/MSP, a visually oriented, interactive, real time audio processing application. In live performance, Correspondances requires technical support in the form of four condenser microphones, an audio interface, one foot pedal, a Macintosh computer equipped with Cycling 74’s Max/MSP, and a stereo sound system. iii
Program Notes Correspondances explores the intricate timbral relationships that are possible between the human voice, acoustic instruments, processed sounds, and real­time electroacoustic processing. A poem of the same title by Charles Baudelaire comprises the text, which appears in the original French and in the English translation. Baudelaire’s poem emphasizes themes of exploration, imagination, and the richness of nature. The subjects of Baudelaire’s text allowed me to explore a variety of musical characters. Correspondances1 Correspondences 2
La Nature est un temple où de vivants piliers Laissent parfois sortir de confuses paroles; L'homme y passe à travers des forêts de symboles Qui l'observent avec des regards familiers. Comme de longs échos qui de loin se confondent Dans une ténébreuse et profonde unité, Vaste comme la nuit et comme la clarté, Les parfums, les couleurs et les sons se répondent Il est des parfums frais comme des chairs d'enfants, Doux comme les hautbois, verts comme les prairies, — Et d'autres, corrompus, riches et triomphants, Ayant l'expansion des choses infinies, Comme l'ambre, le musc, le benjoin et l'encens, Qui chantent les transports de l'esprit et des sens. Nature is a temple, in which living pillars Sometimes utter a babble of words; Man traverses through forests of symbols That observe with knowing eyes. As prolonged echoes merge far away In a dark and profound unity, Vast as darkness and vast as light, Perfumes, sounds, and colors answer to each. There are scents as fresh as the flesh of children, Sweet as oboes, green as meadows, — And others, perverse, rich and triumphant, With the infinite expansion of infinite things, Such as amber, musk, benjoin, and incense, That chant the ecstasies of the mind and the senses.
1
2
Scarfe, Francis, ed. Baudelaire: Selected Verse.Hammondsworth: Penguin Books, 1964. Baudelaire, Charles. Correspondances. trans. S. Hoose 2008. iv
v
Instrumentation
soprano viola percussion
(vibraphone, bass drum, 18” suspended cymbal, log drum, tam tam, rain stick, USB pedal) Stage Setup Percussion Setup The following setup is suggested for the percussion instruments:
suspended cymbal
log drum
percussion
viola
trap table
tam tam
rain stick
microphone
microphones
isolation shield
(optional)
vibraphone
isolation shield
(optional)
foot pedal
soprano
bass drum
microphone
vi
General Notation Percussion Notation (continued) Gradually change from one texture or tempo to another. For instance, shift from a fast to slow articulation.
!"""""The circular symbol, refers to the use of brushes.
!"""""Notes should be allowed to ring unless indicated.
!"""""The use of mallets, sticks, and bows is indicated in the score.
!"""""The use of the bow is indicated by the word arco.
. Time­lapse notation is indicated by a solid line and numerical figure representing time. For example, the following represents a duration of 10 seconds.
The following symbols are used in the vibraphone part.
(pedal)
(lift pedal)
(release pedal)
(dampening) 10"
A hollow notehead followed by a slur indicates the approximate duration of a note.
!"""""Full pedaling should be used throughout.
!"""""Dampening refers to the act of silently stopping the sustain of a note by pressing the mallet head onto the appropriate bar. !"""""The motor should not be used in the vibraphone part.
Electroacoustic sounds and processing are notated on the bottom staff. The type
of sound is described within a box and is indicated by a solid line representing the
approximate duration of the sound or process.
Technical Requirements Pitched material contained in the electronics is indicated inside a box.
The following items are required for the electroacoustic portion of the work:
"Rattle­like" Sounds (G/ A)
!"""""Four condenser microphones (cardioid, hypercardioid, or supercardioid)
!"""""An audio interface containing four inputs and two outputs
!"""""One USB foot pedal (for the percussionist)
!"""""A Macintosh computer equipped with Cycling 74’s Max/MSP runtime (available at www.cycling74.com)
!"""""A stereo sound system
For detailed information on running the live electronics, see the associated readme file
in the main screen of the accompanying Max/ MSP patch.
Soprano Notation Special techniques used in the soprano part are defined as follows:
gliss.
gliss.
(breath­like)
(glissando) glissando (indeterminate pitch)
!"""""Breath­like refers to a sound with a greater than normal amount of air.
!"""""Speech and whispering are only used in conjunction with a cutaway score.
Percussion Notation Unpitched percussion instruments are notated as follows:
Tam Tam Bass Drum
Rain Stick
Log Drum
Suspended Cymbal (18")
Additional Notes !"""""A plexiglass isolation shield may be placed between the percussionist and vocalist
to prevent unwanted microphone pickup.
!"""""The assistance of a sound technician may be desirable.
!"""""Rehearsal numbers correspond with the cues in the Max/MSP patch and the pedal
markings in the percussion part. Rehersal/ cue numbers are designated by a boxed
number. For instance, represents cue/ rehearsal number #1.
1
!"""""Performers should read from full score.
Pedal
CORRESPONDANCES
for
soprano voice, viola, percussion, and live electronics
Shane Hoose
text by Charles Baudelaire
1
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&
Soprano reverb
Wooden Sounds (G#)
12
11
3
!& 0
8 8 8 8 8 88888
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0
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S. reverb cont.
3
f
'
'
7
'
'
'
mf
3 )(
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Les par - fums
sul pont.
ord.
+,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
8
8
8
8
8
8
8
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5
Tranquilly
f
et com - me la clar - té
Perc.
(
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#
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mf
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Viola Reverb
E.A.
S.
'
3
f
(
'
Passionately, q=76
)))))))
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accel.
7
p
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mf
'
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n
'
PED.
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/
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0
'
'
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suspended cymbal
w/ soft mallets
*
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:
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PED.
Metallic Sounds (D)
Perc. Ring Modulation
Viola Ring Modulation
Processed Hi-Hat (Eb)
8
14
13
:
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mf
&
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'
3
/
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0
les cou - leurs
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Processed Hi-Hat
Metal Sounds (Eb)
E.A.
Viola Delays
#
mp
3
frais com - me des chairs
( % ) (- ( /
f
'
'
'
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17
(breath-like)
p
mf
gliss
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1
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mp
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S. Reverb cont.
E.A.
1
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mf
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Perc.
16
15
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S.
Soprano Reverb
Perc. Ring Modulation
/
0%
'
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PED.
/
"Wind" Sound
Processed Wind Chimes (Eb)
"Wind" Sound
0
/
9
18
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'
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Processed Flute Sounds
Viola Reverb
#
S.
Vla.
19
&
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3
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Perc.
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#
S.
&
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E.A.
11
20
Calmly, q=76
rit.
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#
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+,,,,,,,,,,,,,,,,
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$
E.A.
'
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p
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'
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0
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5
mp
2
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;
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Ethereal, q=72
'
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p
mp
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n
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mf
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3
5
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f
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E.A.
Freely
spoken delicately
:
&
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&
slow
+,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
*
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13
15"
'
'
'
'
fast
ff
There are scents as fresh and cool as the flesh of children,
sweet as oboes, green as meadows; and others, perverse, rich,
and triumphant,
mp
p
'
% / 0
PED.
'
'
'
'
'
'
Rattle Sounds
#
10"
15"
whisper softly
with the infinite expansion of infinite things— such as amber,
musk, benjoin, and incense, that chant the ecstasies of the mind
and senses.
S.
"
Vla.
Perc.
E.A.
!
!
"
Bass Drum,
w/ wire brush
no
!with
perceived pulse
$
p
Rattle Sounds cont.
n