Another technique I used to combine rhythmic and harmonic material in The Flowering Desert and TRAPPIST-1 is isorhythm[28]. I generated different taleae using rhythmic units or combinations of them which I linked to a particular idea. For example, to represent the idea of the triple transit, a particular important moment in the discovery of the TRAPPIST-1 system, I combined the rhythmic units of the three planets responsible for this event (planets C, E, and F) into a talea. Similarly, I generated different color using pitch combinations from the harmonic material. Some examples of color are: the order of discovery of the planets (C, G, E, F, B, D, H), the triple transit (C, E, F), or the two planets theorised and spotted months later (D, H). We can consider that the generation of the banks of materials previously discussed is also a form of multi-layered isorhythm, as it combines the unique taleae and color of several independent lines, each of them linked to a planet.
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contents
- Cover Page
- Abstract and research questions
- Acknowledgements
- 1 Introduction
- 2 How can interdisciplinary collaboration with science-based disciplines develop composition strategies and techniques for creating new music theatre?
- 3 How can you communicate a subject matter on many compositional levels in a piece of music theatre?
- 4 Conclusion
- 5.1 Appendix #1: In response to Naum Gabo: Linear Construction in Space No. 1
- 5.2 Appendix #2: Autohoodening: The Rise of Captain Swing
- 5.3 Appendix #3: The Flowering Desert
- 5.4 Appendix #4: TRAPPIST-1
- 6 References / Bibliography / Discography
- Daniel Blanco Albert
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abstract
The practice-based PhD research project comprises the development and application of composition strategies and techniques generated through interdisciplinary collaboration to integrate elements and ideas from non-sonic disciplines into the musical discourse of new music-theatre works, specifically opera. I explore mechanisms of mapping and association that engage with both the specific subject matter of each piece and the creative collaborative environment in which they are created, thus generating different compositional resources that I use to inform the creative process. By using mapping techniques, I can deeply engage and communicate a subject matter on different levels in the musical composition. The framework for this research is the intertwining of art and science on a variety of levels from a music compositional perspective. Within this framework, I explored the integration of knowledge and data from the natural and social sciences to inform the composition of four science-based music-theatre works: In response to Naum Gabo: Linear Construction in Space No. 1 (2020), Autohoodening: The Rise of Captain Swing (2021), The Flowering Desert (2022), and TRAPPIST-1 (2023). With this approach, I aim to closely link these works with their particular subject matter instead of being composed based just on my personal musical taste. By consistently and cohesively applying the strategies and techniques explored in this research, the outcome is not creating music about science or music inspired by science, but, instead, music embedded with science in which the scientific data and knowledge inform the composition decisions. The subject matter is therefore intertwined within the musical discourse, its performativity and theatricality, and its relationship with the other disciplines and collaborators involved in the creation of these music-theatre works.
- Daniel Blanco Albert - Composition strategies for the creation of science-based interdisciplinary and collaborative music-theatre - 2024
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