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A Compositional Method for Electronic Composers

Article from Polyphony, July/August 1978


All forms of creative expression embody structural principles regardless of how avant-garde or 'far out' the end result appears. Musicians, along with other artists, view the concept of structure from two perspectives: practical versus theoretical. Composers generally tend toward the former, whereas the latter view is often more important to musicologists and theorists. Needless to say, no musician should restrict his or her knowledge to either practical or theoretical considerations; balance between the two is essential because they are truly inseparable.

One difference between practical and theoretical approaches is temporal — composers (practical) are concerned with the present (now I want this type of sound...), whereas musicologists and theorists look at music that has been written to encompass both the recent and remote past. As a result, it is often said that composers break the rules established by theorists, but this statement is not a true indication of the evolution of compositional aesthetics.

With respect to structure, composers learn much from studying music of the past; having acquired this knowledge, composers gain the ability to develop individual concepts that stem from the work of their predecessors. For a contemporary composer the study of earlier music often centers around compositional techniques so that fluency of expression in a particular style or medium is attained.

Throughout past centuries numerous treatises and books have been written to teach the techniques of musical composition, and many of these texts have been, and still are, quite useful for both students and composers. Although true creative expression cannot be taught, those techniques necessary for its development and articulation may be practiced and mastered. In such treatises compositional rules are often formulated as an aid to composers — not as an obstacle to composition. The following essay is patterned on this concept. Its purpose is to illustrate one possible method for the realization of an electronic composition, and it is certainly not intended to be totally inclusive with respect to compositional techniques. Guidelines are presented to assist in the formulation of a compositional method so that specific techniques serve only as the means to an end. Hopefully the following material will suffice as a point of departure for those interested in electronic composition.

MICROCOSMIC STRUCTURE



SOUND SOURCES

Since the sounds and their transformations common to electronic music are frequently only remotely associated with those of conventional music we will attempt to develop a compositional method suitable for all types of sound. Because there are no restrictions as to the nature of the sounds that we may choose, we must define the sonorous characteristics of each composition. In other words, it is up to the composer to define the limits within which he will work. As soon as the sonorous nature of a composition is determined (probably a vague or general notion at this point), the ingredients for a structural framework are present.

We will deal purposely with a simple sonorous structure so that our compositional method remains visible. The choice of one basic sound will thereby enable us to concentrate upon structural relations more readily than if we choose a variety of sounds. At first this self-imposed restriction may appear to be too severe, but we shall, soon become aware of its many advantages.

Thus far we have spoken of structure and its importance in an electronic composition. What is structure? It is nothing more than a self-imposed restriction that generates sonorous COHERENCE. With respect to our compositional method, the fewer the basic sounds the greater is the possibility of sonorous coherence. However, this alone does not guarantee a 'good' piece; our discussion only includes the technical components of structural coherence so that all other elements (imagination, emotion, etc.) must be accounted for by the individual.

If we choose only a single sound as the source of a composition it is obvious that we run the risk of sonorous boredom. In order to prevent this situation, yet to retain structural coherence, we must be able to generate 'new' sounds from this source. This is possible via electro-mechanical transformations of the original sound as filtering, modulation, frequency shifting, reverberation, envelope shaping, phasing, panning, mixing, tape transposition, tape reversal, tape loops, tape delay, splicing, and all combinations of these (and other) techniques. After all of these possibilities have been explored the composer may choose those sounds which he prefers in order to proceed to the next compositional stage. The following steps summarize this initial process.

1. Choose a single sound as the primary source for a composition.

2. Subject this sound to a variety of electro-mechanical transformations.

3. Select only those sounds which conform to the desired sonorous nature of the composition.

At this point, a library of interrelated sonorous materials has been assembled. Although the individual sounds may appear to be quite diverse they are structurally related because they originated from a single source. Thus far our compositional, method has enabled us to assemble a library of sounds that includes both a high degree of sonorous coherence along with necessary diversity.

SUBSTRUCTURE



Now that we have decided upon the type of sounds to be used in our composition we must begin to arrange selected sonorities as they will appear in the final version. Again, simplification of this process will enable the composer to exercise maximum control over the end result. One of the first questions to arise concerns the beginning of the piece, and we may choose any sound from the previously assembled library (step #3). The next step is perhaps the most difficult for there are no extra-musical guidelines to assist the composer; the second sound (or possibly silence) must now be chosen.

An easy way to accomplish this task is to imagine what type of sonority should follow the initial sound, and then try to find this sound (or an acceptable substitute) from among those of the library. The structural value of the sound library becomes increasingly important, for sonorities chosen from the library are at least physically related to each other; this acoustic interrelation helps to establish a coherent sonorous structure so that a more or less logical succession of sounds results.

After the first two sounds have been chosen they should be listened to carefully, and the next sonority may be obtained from the sound library in the same manner as the previous sound was acquired. Repeat this process until a complete sonorous idea evolves. Do not worry about the overall duration of the sequence of events at this point, for there are no standards upon which to base your work.

Since our compositional method has provided a physical structure for the piece, at least some degree of logic is maintained among the sounds. The more sensitive and imaginative the composer, the greater will be the 'musical' value of the composition. Such value judgements, however, are too subjective for the present discussion, and they are best discussed in person with an experienced composer. For now it will be sufficient if you listen carefully to all that you do, always striving for complete satisfaction with the resultant succession of sounds. The following steps are the continuation of steps 1-3, and they summarize the second stage of our compositional method.

4. Choose a sonority from the sound library as the initial event of the composition.

5. Choose the second sound from the library.

6. Repeat this process until a complete sonorous idea is developed.

A relatively small part, or subsection, of the composition is now completed. Listen to it repeatedly so that its sonorous characteristics become familiar.

MACROCOSMIC STRUCTURE



Up to this point we have been concerned with minute details in order to generate a foundation upon which an entire composition may be realized; the logic supporting our course of action stems from the development of a compositional method. Further development of this method will promote the completion of an entire electronic work.

Now that the first subsection is finished, the nature of the next section must be determined. This may be accomplished by forming new subsections from the sound library, or by electro-mechanical transformation of previous sections. In either case, several critical decisions must be made, including: the number of subsections (to determine the duration of the composition), and sonorous interrelations among subsections (to establish varying degrees or homogeneity and/or contrast). All of these considerations are associated with the overall structural design of the piece, and they may be incorporated within our compositional method.

The chief value of the compositional method has been to generate a variety of diverse sonorities from a single sound source, from which a library was assembled and a subsection eventually derived. As previously stated, dealing with subsections elevates structural concepts to a higher level. We may now apply those same electro-mechanical procedures (used to form the library) to the first subsection (step #6) in order to develop enough material for an entire composition. In this manner any number of interrelated subsections can be produced. Figure 1 graphically depicts this entire process.

Figure 1 OUTLINE OF A COMPOSITIONAL METHOD (A).


Another application of the compositional method for the derivation of subsections is shown in figure 2, whereby many different sounds are extracted from the library to produce interrelated subsections of a possibly more diverse sonorous nature. Since both methods are of equal importance we will discuss their particular advantages with respect to the overall structure of the composition.

Figure 2 OUTLINE OF A COMPOSITIONAL METHOD (B).


The degree of homogeneity and/or contrast among subsections will ultimately determine the duration of a piece. As before, these choices remain the responsibility of the composer, but a wise application of our compositional method may make this task easier. Method A (figure 1), for instance, will most likely yield a shorter composition than method B (figure 2) because of the restricted introduction of 'new' sounds from the library in the former process. Continual development of previous material characterizes the nature of method A, whereby a rather homogeneous sonorous texture results.

On the other hand, method B provides for a greater number of sounds from the library so that individual subsections may be more remotely associated to one another. The greater possibility of sonorous contrast afforded by method B therefore more readily suggests a composition of longer duration.

Once these basic structural principles are understood it is an easy matter to combine both methods, as well as to formulate new ones. Regardless of the manner in which a piece is conceived and developed it is imperative to remember that compositional techniques, methods etc. are only the means to an end — the actual composition. The composer's satisfaction with the final result is essential, and it must be remembered that the aforementioned procedures have been suggested only as an aid for the attainment of this goal.

The following discography and bibliography include materials relevant to the topics discussed in this essay. They are not intended to be exhaustive, but they do serve as a point of departure for serious electronic composers.

Selected Discography

Berio, Luciano. "Thema" (Omaggio a Joyce), Turnabout 34177.
Henry, Pierre. "Variations on a Door and a Sigh," Philips 836-898 DSY.
Luening, Otto. "Fantasy In Space," Folkways FX-6160 and Desto 6466.
Reich, Steve. "Come Out," Odyssey 32160160.
Schaeffer, Pierre. "Etude au piano U," Ducreter-Thompson DUC-8.
Stockhausen, Karlheinz. "Gesang der Junglinge," Deutsche Grammophon Gesellschaft DG 138811 SLPM.
Ussachevsky, Vladimir. "Sonic Contours," Desto 6466.

Selected Bibliography

Cope, David. New Music Composition. New York: Schirmer, 1977.
Ernst, David. The Evolution of Electronic Music. New York: Schirmer, 1977.
Howe, Hubert. Electronic Music Synthesis. New York: W. W. Norton, 1975.
Stockhausen, Karlheinz. "Music and Speech." Die Reihe 6 (1960): 40-64.
Ussachevsky, Vladimir and Otto Luening. Electronic Tape Music. New York: Highgate Press (Galaxy Music), 1977.



David Ernst holds a Ph.D. in Music Theory & Composition from Rutgers University and is the author of The Evolution of Electronic Music and numerous articles on electronic music theory and composition. He is currently the Director of the Electronic Music Studio at York College, City University of New York.


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Publisher: Polyphony - Polyphony Publishing Company

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Polyphony - Jul/Aug 1978

Donated & scanned by: Vesa Lahteenmaki

Feature by David Ernst

Previous article in this issue:

> Constructing A Trigger Delay...

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