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Composition 2020.01 (Barbara Hepworth)

Composition 2020.01 (Barbara Hepworth) features a recoding of the artist Barbara Hepworth reading from her diary:  

‘It took a long time for me to find my own personal way of making sculpture. A long time to discover the purest forms that would exactly evoke my own sensations - and to visualise images which would express the timelessness of primitive forces which I felt - and the constant urge towards survival - and growth - which I knew to be fundamental  - both to the human being and the landscape in which we stand’.  

Other components of the composition include three tones pitched at C2 - D#2 - and C3. Ring modulation has been applied to create a level of harmonic complexity. 




Composition 2020.02 (Untitled) 

Composition 2020.02 (Untitled) is in the form of a palindrome - and consists of a continually repeating tone at C3 - plus additional tones at C#2 - D2 - D#2 - C#3 - D3 - D#3.



Composition 2020.03 (Untitled)

Composition 2020.03 (Untitled) is sparsely textured - and consists of three tones: C3 - C4 - C#4 - separated by periods of silence. The composition begins - then ends - moving  through time. 



Composition 2020.04 (Morton Feldman)

Composition 2020.04 (Morton Feldman) consists of a sample of an orchestral chord from Morton Feldman’s ‘Untitled Film Music: Desert’ - and two fading sounds that fade in and out of the surrounding silence. 



Composition 2020.05 (Things Come to Mind)

Composition 2020.05 (Things Come to Mind) is sparsely textured - with slowly moving sounds separated by periods of silence - and was produced using frequency modulation - physical modelling - and wavetable synthesis. There are repeating tones - and also five chords that each occur twice - with the sounds moving slowly - at thinking speed - through the timeline. The use of digital technology is an important part of the compositional process - with the music being produced from instruments and other sound producing means  derived from the techno-sphere. 



Composition 2020.06 (Anton Webern)

Composition 2020.06 (Anton Webern) is based on the twelve-tone row from the third movement of Anton Webern’s Variations Op. 27 (1937). The basic row is - D# - B - A# - D - C# - C - F# - E - G - F - A - and G#.  The tones appear as single notes - dyads - and triads - and are separated by periods of silence.



Composition 2020.07 (Untitled)

Composition 2020.07 (Untitled) is sparsely textured - and consists of eight short repeating sinewave-based sounds separated by periods of silence - and a longer pulsing sound that occurs in the middle of the composition.



Composition 2020.08 (Untitled) 

Composition 2020.08 (Untitled) was produced digitally using physical modelling synthesis (electric piano) - and consists of repeating tones - pitched at C2 - C3 - and C#3 - that occur as either single notes or as dyads. The composition is sparsely textured - and the sounds are separated by periods of silence. 



Composition 2020.09 (Untitled)

Composition 2020.09 (Untitled) is sparsely texture - and consists of a continually repeating tone at C2 - plus additional tones at  G1 - A1 - C3 - C#3. Ring-modulation has been applied to create a level of harmonic complexity. 



Composition 2020.10 (Untitled)

Composition 2020.10 (Untitled) was. produced using physical modelling synthesis - and consists of two elements - a repeating tone pitched at C3 - and a pulsing fading sound. 



Composition 2020.11 (Object World)

Composition 2020.11 (Object World) is fourth in the series of Object World compositions - in which all four compositions incorporate shared material with different variations of themes and ideas. The production of the compositions span a ten year period from 2010 to 2020 - with the fourth iteration of the series being a consolidation of the previous compositions - as well as introducing new material. 

Like the earlier Object World compositions - Composition 2020.11 is sparsely textured - with repeating sounds fading in and out of silence.  It is an example of ‘technological lessness’ - and explores what the architect and philosopher Buckminster Fuller called ‘post-industrial ephemeralisation’ - of doing more with less - of doing everything with nothing. 

Object World is also the title of a collection of poetic prose fragments - of which this is the first: A back hardback notebook is lying open on the desk in the study. Written in pencil on one of the pages is the poem - ‘Things exist. There is also the non-existence of things.’



Composition 2020.12 (Anne Truitt)

Composition 2020.12 (Anne Truitt) features a recording of the artist Anne Truitt reading from her diary: ‘I now have two large plywood surfaces in Stone South and am working on them in tandem so that the series of paintings on canvas I am calling Brunt is coming along rapidly. They are coming out of the shear turn that presented itself to my inner eye a few weeks ago, a return to the preoccupations in my early sixties’ sculpture: burnt umbers; blacks; dark, dark reds and blues and purples rammed into proportions allowing, to my eye, no room for potential change. They are for me as categorically restrictive as endurance; they are the brunt of endurance. A familiar brunt. It was only in 1967, in the exhilaration of my return from Japan to America, that it occurred to me that I could use the energy I had been putting into endurance to change my life. Yet the concept of brunt, of accepting and enduring, still seems to me to have a kind of nobility. It is, perhaps, less intelligent, but there is a stubborn selfhood about it that is dear to me. It can be, quite literally, the only way to survive.’ 

The composition was produced digitally using FM and physically modelling synthesis - and in addition to the spoken words element there are a number of repeating sounds that fade in and out of each other. 




Composition 2020.13 (Edgar Varèse)

Composition 2020.13 (Edgar Varèse) includes two samples of orchestral chords from Edgar Varèse’s composition Déserts. These chords are repeated against a backdrop of sinewave-based sounds that fade in and out of each other - and a continuous tone pitched at C1. 

According to Varèse - the title of his composition regards - ‘not only physical deserts of sand, sea, mountains, snow, outer space and deserted city streets -  but also distant inner space - where man is alone in a world of mystery and essential solitude.’




Composition 2020.13 (Edgar Varèse) Film

Composition 2020.13 (Edgar Varèse) Film is of a car journey through the Mojave desert in Nevada.

Composition 2020.13 (Edgar Varèse) FILM was first presented at Corpora Aliena - Desert Stories - IKLECTIK [off-site] - 23.09.2020



Composition 2020.14 (Untitled)

Composition 2010.14 (Untitled) is sparsely textured - and consists of a number of fading sounds - pitched at either C2 - C3  and B3 - separated by periods of silence.



Composition 2020.15 (Untitled)
Composition 2020.15 (Untitled) was produced digitally using FM and physical modelling synthesis - and consists of a small number of pitched and unpitched sounds. Distortion has been applied to create a level of timbral complexity. 

Composition 2020.15 (Untitled) was first presented at Corpora Aliena - IKLECTIK [off-site] - 13.01.2021






































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