{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://ualberta.aviaryplatform.com/iiif/7h1dj5b35m/manifest","type":"Manifest","label":{"en":["Altered Audiation: Perspectives in Sound and Notation"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/128/original/UA_Logo_WHT_RGB_%281%29.png?1725471982","metadata":[{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eThis thesis is made available by the University of Alberta Libraries with permission of the copyright owner solely for non-commercial purposes. This thesis, or any portion thereof, may not otherwise be copied or reproduced without the written consent of the copyright owner, except to the extent permitted by Canadian copyright law.\u003c/p\u003e"]}},{"label":{"en":["Agent"]},"value":{"en":["Israelsen, Andrew S (Composer)"]}},{"label":{"en":["Date"]},"value":{"en":["2015 (created)"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003e\u003cem\u003eKarayn: an Edifice of Emptiness for String Quartet\u003c/em\u003e -- \u003cem\u003eSEPTICK: Adumbrations of Solution and Fragmentation \u003c/em\u003e-- \u003cem\u003ePigeons (Performance)\u003c/em\u003e -- \u003cem\u003ePigeons (Single Sample 1)\u003c/em\u003e --\u003cem\u003e Pigeons (Single Sample 2)\u003c/em\u003e -- \u003cem\u003ePigeons (Single Sample 3)\u003c/em\u003e --\u003cem\u003e Pigeons (Single Sample 4)\u003c/em\u003e -- \u003cem\u003ePicnithyzer\u003c/em\u003e (An Improvised Interpretation of \u003cem\u003ePicnic\u003c/em\u003e) -- \u003cem\u003eFor the Number of Man (+1)\u003c/em\u003e (An Improvised Interpretation of \u003cem\u003ePicnic\u003c/em\u003e) --\u003c/p\u003e\r\n\u003cp\u003eNote: Details about \u003cem\u003eFor the Number of Man (+1)\u003c/em\u003e are included within the Media Metadata for \u003cem\u003ePicnithyzer\u003c/em\u003e.\u003c/p\u003e (table of contents)","\u003cp\u003e\u003cstrong\u003eAuthor's Abstract\u003c/strong\u003e (from the Thesis, in quotation marks):\u003c/p\u003e\r\n\u003cp\u003e\"The Western classical system of musical notation is a powerful and flexible tool, one of proud heritage and expressive complexity.\u003c/p\u003e\r\n\u003cp\u003eMy interest has been to expand and reconfigure this tool to express and benefit my personal compositional interests. I aim to retain enough familiarity wherein performers are able understand and interpret my music accurately and expressively. Through personal experiments and analysis of other composer's scores, I can make intuitive decisions for how and why I alter, expand, and eliminate notational conventions within my own musical works.\u003c/p\u003e\r\n\u003cp\u003eI have experimented with additions and reductions to the number staff lines and staves, eliminated certain key elements such as meter and precise pitch by replacing them with my own inventions, composed works with both graphic and text based elements, and at times broken all the rules of musical notation by removing the very necessity of musical interpretation from the score.\"\u003c/p\u003e\r\n\u003cp\u003eThesis is available at: https://doi.org/10.7939/R3Q52FK6R\u003c/p\u003e\r\n\u003cp\u003eSupplementary materials are available at: https://doi.org/10.7939/r3-1qpz-hz48\u003c/p\u003e (summary)","\u003cp\u003e\u003cstrong\u003eAuthor's Introduction\u003c/strong\u003e (from the Thesis, in quotation marks):\u003c/p\u003e\r\n\u003cp\u003eI truly enjoy the challenge of creating my own unique methods for notating music. Few things are as fascinating to me as creating a score which represents the structures and sounds I imagine while composing. My scores become a vehicle for audiation; the imagination and perception of sound within one's own thoughts and experiences. I believe a score that closely represents its sound or compositional process brings performers and listeners closer to the nature of the music.\u003c/p\u003e\r\n\u003cp\u003eI find my experiments and studies in notation necessary to my music, because the traditional system is ineffective at representing the musical ideas I am most interested in – flexibility, unpredictability, timbre, and perspective.\u003c/p\u003e\r\n\u003cp\u003eFlexibility and unpredictability are nested in my passion for improvisation and my fascination with chance and randomness. I often use improvisation as a tool while composing my music. I also enjoy leaving elements of the final score to the decided by the performer. This gives the composition a life of its own, asking the performer for their technical skills, musical consideration, and imaginative ear.\u003c/p\u003e\r\n\u003cp\u003eI relate sound and perspective; both arise from my interest in experimentation and the possibility of conveying meaning in music. I seek to create a strong link between the idea that inspires the music and the sounds heard. This arose in my early creative process as a desire to compose musical stories – sound tracks for film or video games, programmatic compositions, or by constructing acoustic soundscapes. In all of these guises, I was taking the listener to different acoustic locations or offering them knowable characters via motive.\u003c/p\u003e\r\n\u003cp\u003eMy recent and more mature works address perspective in a new way. I choose interesting states of being, locations, or relationships to address in the composition. What is the sound of music buried and decayed over days and years? How can one compose musical statues and shadows? What happens when the music becomes more about thinking than performing?\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eKarayn: an Edifice of Emptiness\u003c/em\u003e and \u003cem\u003eSEPTICK: Adumbrations of Solution and Fragmentation \u003c/em\u003eare examples of how I relate notation and narrative to sound and include elements of performer choice. Both are directly tangible scores which provide a clear road map for their interpretation, yet still have elements that are incompletely defined. \u003cem\u003ePigeons\u003c/em\u003e is an electronic work that manipulates audio signals through a series of modules and sound generators. The included patches are designed to be easily rearranged and reusable in new iterations or projects – I openly invite others to reuse these tools I developed for my own personal use. \u003cem\u003ePicnic\u003c/em\u003e flirts with the edge of imperceptibility, allowing infinite new iterations of the score and by having no single definitive approach for interpretation or performance practice. Performer(s), ensembles, and viewers are able make their own version of \u003cem\u003ePicnic\u003c/em\u003e using software. This software allows a rendition of the score to contain hundreds or thousands of pages. Performers are invited to conceive their own interpretation and methods for performing \u003cem\u003ePicnic\u003c/em\u003e. Two interpretations of\u003cem\u003e Picnic\u003c/em\u003e are included in this body of work – \u003cem\u003eFor the Number of Man (+ 1)\u003c/em\u003e and \u003cem\u003ePicnithyzer\u003c/em\u003e.\u003c/p\u003e\r\n\u003cp\u003eEach composition is presented with a brief discussion of its methods and materials. Both \u003cem\u003ePicnic\u003c/em\u003e and \u003cem\u003ePigeons\u003c/em\u003e provide recorded examples of their execution and interpretive possibilities.\"\u003c/p\u003e (general)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio (.wav) (AV Type)"]}},{"label":{"en":["Relation"]},"value":{"en":["\u003ca href=\"https://doi.org/10.7939/R3Q52FK6R\"\u003eThesis \"Altered Audiation: Perspectives in Sound and Notation\"\u003c/a\u003e (is part of)","\u003ca href=\"https://doi.org/10.7939/r3-1qpz-hz48\"\u003eSupplemental files \"Altered Audiation: Perspectives in Sound and Notation\"\u003c/a\u003e (is part of)"]}}],"summary":{"en":["\u003cp\u003e\u003cem\u003eKarayn: an Edifice of Emptiness for String Quartet\u003c/em\u003e -- \u003cem\u003eSEPTICK: Adumbrations of Solution and Fragmentation \u003c/em\u003e-- \u003cem\u003ePigeons (Performance)\u003c/em\u003e -- \u003cem\u003ePigeons (Single Sample 1)\u003c/em\u003e --\u003cem\u003e Pigeons (Single Sample 2)\u003c/em\u003e -- \u003cem\u003ePigeons (Single Sample 3)\u003c/em\u003e --\u003cem\u003e Pigeons (Single Sample 4)\u003c/em\u003e -- \u003cem\u003ePicnithyzer\u003c/em\u003e (An Improvised Interpretation of \u003cem\u003ePicnic\u003c/em\u003e) -- \u003cem\u003eFor the Number of Man (+1)\u003c/em\u003e (An Improvised Interpretation of\u0026nbsp;\u003cem\u003ePicnic\u003c/em\u003e) --\u003c/p\u003e\r\n\u003cp\u003eNote: Details about \u003cem\u003eFor the Number of Man (+1)\u003c/em\u003e are included within the Media Metadata for\u0026nbsp;\u003cem\u003ePicnithyzer\u003c/em\u003e.\u003c/p\u003e","\u003cp\u003e\u003cstrong\u003eAuthor's Abstract\u003c/strong\u003e (from the Thesis, in quotation marks):\u003c/p\u003e\r\n\u003cp\u003e\"The Western classical system of musical notation is a powerful and flexible tool, one of proud heritage and expressive complexity.\u003c/p\u003e\r\n\u003cp\u003eMy interest has been to expand and reconfigure this tool to express and benefit my personal compositional interests. I aim to retain enough familiarity wherein performers are able understand and interpret my music accurately and expressively. Through personal experiments and analysis of other composer's scores, I can make intuitive decisions for how and why I alter, expand, and eliminate notational conventions within my own musical works.\u003c/p\u003e\r\n\u003cp\u003eI have experimented with additions and reductions to the number staff lines and staves, eliminated certain key elements such as meter and precise pitch by replacing them with my own inventions, composed works with both graphic and text based elements, and at times broken all the rules of musical notation by removing the very necessity of musical interpretation from the score.\"\u003c/p\u003e\r\n\u003cp\u003eThesis is available at: https://doi.org/10.7939/R3Q52FK6R\u003c/p\u003e\r\n\u003cp\u003eSupplementary materials are available at: https://doi.org/10.7939/r3-1qpz-hz48\u003c/p\u003e","\u003cp\u003e\u003cstrong\u003eAuthor's Introduction\u003c/strong\u003e (from the Thesis, in quotation marks):\u003c/p\u003e\r\n\u003cp\u003eI truly enjoy the challenge of creating my own unique methods for notating music. Few things are as fascinating to me as creating a score which represents the structures and sounds I imagine while composing. My scores become a vehicle for audiation; the imagination and perception of sound within one's own thoughts and experiences. I believe a score that closely represents its sound or compositional process brings performers and listeners closer to the nature of the music.\u003c/p\u003e\r\n\u003cp\u003eI find my experiments and studies in notation necessary to my music, because the traditional system is ineffective at representing the musical ideas I am most interested in \u0026ndash; flexibility, unpredictability, timbre, and perspective.\u003c/p\u003e\r\n\u003cp\u003eFlexibility and unpredictability are nested in my passion for improvisation and my fascination with chance and randomness. I often use improvisation as a tool while composing my music. I also enjoy leaving elements of the final score to the decided by the performer. This gives the composition a life of its own, asking the performer for their technical skills, musical consideration, and imaginative ear.\u003c/p\u003e\r\n\u003cp\u003eI relate sound and perspective; both arise from my interest in experimentation and the possibility of conveying meaning in music. I seek to create a strong link between the idea that inspires the music and the sounds heard. This arose in my early creative process as a desire to compose musical stories \u0026ndash; sound tracks for film or video games, programmatic compositions, or by constructing acoustic soundscapes. In all of these guises, I was taking the listener to different acoustic locations or offering them knowable characters via motive.\u003c/p\u003e\r\n\u003cp\u003eMy recent and more mature works address perspective in a new way. I choose interesting states of being, locations, or relationships to address in the composition. What is the sound of music buried and decayed over days and years? How can one compose musical statues and shadows? What happens when the music becomes more about thinking than performing?\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eKarayn: an Edifice of Emptiness\u003c/em\u003e and \u003cem\u003eSEPTICK: Adumbrations of Solution and Fragmentation \u003c/em\u003eare examples of how I relate notation and narrative to sound and include elements of performer choice. Both are directly tangible scores which provide a clear road map for their interpretation, yet still have elements that are incompletely defined. \u003cem\u003ePigeons\u003c/em\u003e is an electronic work that manipulates audio signals through a series of modules and sound generators. The included patches are designed to be easily rearranged and reusable in new iterations or projects \u0026ndash; I openly invite others to reuse these tools I developed for my own personal use. \u003cem\u003ePicnic\u003c/em\u003e flirts with the edge of imperceptibility, allowing infinite new iterations of the score and by having no single definitive approach for interpretation or performance practice. Performer(s), ensembles, and viewers are able make their own version of \u003cem\u003ePicnic\u003c/em\u003e using software. This software allows a rendition of the score to contain hundreds or thousands of pages. Performers are invited to conceive their own interpretation and methods for performing \u003cem\u003ePicnic\u003c/em\u003e. Two interpretations of\u003cem\u003e Picnic\u003c/em\u003e are included in this body of work \u0026ndash; \u003cem\u003eFor the Number of Man (+ 1)\u003c/em\u003e and \u003cem\u003ePicnithyzer\u003c/em\u003e.\u003c/p\u003e\r\n\u003cp\u003eEach composition is presented with a brief discussion of its methods and materials. Both \u003cem\u003ePicnic\u003c/em\u003e and \u003cem\u003ePigeons\u003c/em\u003e provide recorded examples of their execution and interpretive possibilities.\"\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eThis thesis is made available by the University of Alberta Libraries with permission of the copyright owner solely for non-commercial purposes. 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