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Études



Rhythm Necklaces &
Euclidean Distribution  —
2019 January
  1. Benin
  2. Ngbaka-Maibo
  3. Bembé

Additive Synthesis &
Spectromorphologies —
2019 February
  1. Inharmonic Partials & Hyberbolic Paraboloids
  2. Spectral Function Drawings

Gong Studies —
2019 March
  1. Surface Transduction &
    Bronze Meditations 
  2. Ketamine Mother Mantis
  3. Mallet Variations I & II

Wavetable Studies —
2019 April
  1. Iterative Indices (f+n2)
  2. Markov Matrix Interpolations
  3. Vertex Interpolations

Emptiness 間—
2019 May
  1. Silence Music
  2. Sunyata Nihilism
  3. 間
  4. Nothingness as structure

Homophony & Hocketing—
2019 June
  1. For Voice in Two Parts
  2. For Modular Synthesizer
  3. For Vocaloid and Voice

Harmonic Studies —
2019 July
  1. Pythagorean Overtones
  2. Geometry of Harmony
  3. Kepler’s Music of the Spheres

Second Order Complexities 
& Systems Music —
2019 August
  1. Krell Patches
  2. Generative Immanence
  3. Second Order Statefulness
  4. Second Order Statelessness

Phase Studies —
2019 September
  1. Axis Shift (Off Cycle Tines)
  2. Tempi
  3. Foci

Resonant Architectures &
Convolutional Models —
2019 October
  1. Impulse Responses
  2. Tuning Architectures 
  3. Infrasound 

Otoacoustic Emissions —
2019 November
  1. Inner Ear Distortion
  2. K-Space Shepard Tones
  3. Inaudible Nyquist Experiments
  4. SuperCollider & Perceptual Auditory Phenomena

Pointilism & Timbre —
2019 December
  1. Graphical Sonification
  2. SuperCollider Stipling Clusters



Études  —
Info
  1. An étude (English: /ˈeɪtjuːd/; French: [e.tyd], meaning 'study') is an instrumental musical composition, usually short, of considerable difficulty, and designed to provide practice material for perfecting a particular musical skill, technique, form, or concept.

Mark









Extended Techniques — Figurations, Variations, & Classifications




“You must be like me; you must suffer in rhythm.”

                                                                                           ― JEAN-PAUL SARTRE

The purpose of this set of études in microcomposition, technique, and mutant instrumentation is to publish unorthodox and incomplete processes from my studio practice. I’m aiming to forego formalism to examine and rehearse rudimentary forms and sonorities without being encumbered by compulsions to situate them into any broader compositional framework. Variations and refigurations of motifs, tunings, systems, timbres, and temporalities will be the primary material examined here.

This will also be an exercise in documentating the materials utilized in my compositions, sound design, and recordings. I will be publishing documentation of process software, architectural acoustic experiments,  mutant instruments, circuits, physical materials, microphone techniques, mathematical functions, and photos in the field collecting data or sounds.

Notation, visual scoring, and graphical representation of the musical, spectral, temporal, and spatial domains will be another region of experimentation that I’m aiming to undertake with the project. Graphical notation will complement the extended techniques as an aesthetic counterpart for the musician, ensemble, or computers.


ABSTRACTION AND ANALYSIS

“Ideas are distributed in space. An idea isn't only in one part; one part can't express the idea any longer, only the union of parts can completely express the idea. The idea found it necessary to be presented by several parts. After that, there was a rapid flowering of polyphony.” ― Anton Webern (From the Path to New Music, 1975.)