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mosc
Site Admin
Joined: Jan 31, 2003
Posts: 18523
Location: Durham, NC
Audio files: 266
G2 patch files: 60
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 Posted: Thu Jan 07, 2010 12:29 pm Post subject:
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Congrats, Steve. You got 100.
_________________
--Howard
my music and other stuff |
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MusicMan11712
Joined: Aug 08, 2009
Posts: 1082
Location: Out scouting . . .
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| Posted: Tue Jan 12, 2010 3:27 am Post subject:
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Some footnotes:
When I found and posted the 12-ton rows, I had the vague impression that I had actually scored a piece based on these rows. Well, Sunday, I found the score and parts to "Gobzt" (including what I now seem to recall were probably teacher and classmate comments from the discussion afterwards--limited range, comments about dynamics, etc.).
A few days before finding the score, I had entered the basic rows in SONAR and started playing with them--re-doing them by repeating the rhythm of the first 6 notes of I and II -- ||: quarter note, two eighths, three triplet notes : || -- using all four rows. (Recently I have been appreciating the motivic compositions of Kevin Kissenger and thought I'd try something motivic using the 1-2-3 pattern.)
On top of this pattern I toyed with layering improvised slow-moving, lingering sounds following one of the rows with some success. This morning I searched my PC for Gobzt and found I had created a midi file of it around 1994-95. Its short--it runs a little under 2 minutes.
I am not sure if I can turn all this into a musically worthwhile 21st century ambient piece, but I just may give it a try. As for the question of harmony in 12-tone music, measure 11 of Gobzt consists of A C# and E across three of the parts. The rest is all over the place!
--Steve
PS: Thanks for noticing the 100, Howard!  |
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x_x
Joined: May 05, 2008
Posts: 215
Location: mother earth
Audio files: 4
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| Posted: Sun Feb 21, 2010 8:25 am Post subject:
Re: Limits off |
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| aldanasjuan wrote: | My recomendation is that you take all of those systems, and all of those rules and remove your fear of creating something within boundaries and create whatever you want.
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Yeah, I kind of agree with you. Rules have no chance against our intuition but I believe that in order to break the rules you must master the rules first.
My new composition teacher taught me a technique that he learned from Boulez. It's about using some "cells" and building a binary tree to build the form of the piece. And this little piece I'm composing I use the technique and then I do completely the opposite of the technique inspired on the Rhizome concept of Gilles Deleuze and Felix Guatarri. So the piece itself is about using the rules then breaking them. My composition teacher flipped out when I showed him the last part of the piece:
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Acoustic Interloper
Joined: Jul 07, 2007
Posts: 2082
Location: Berks County, PA
Audio files: 90
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| Posted: Sun Feb 21, 2010 4:57 pm Post subject:
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Rules are simply patterns, often patterns that one can tailor.
Nice work on your pattern! 
_________________
When the stream is deep
my wild little dog frolics,
when shallow, she drinks. |
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x_x
Joined: May 05, 2008
Posts: 215
Location: mother earth
Audio files: 4
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| Posted: Mon Feb 22, 2010 12:47 am Post subject:
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| Acoustic Interloper wrote: | Rules are simply patterns, often patterns that one can tailor.
Nice work on your pattern! |
Yeah, thanks. lol. The meta-language actually is a bunch of math functions inside an iterative loop which eventually generates a series of patterns. But this is the last part of the piece and what this is breaking is the Boulez technique (an inverse musical-form-oriented deterministic finite-state automata)... This last part I did is interpretative on the most part. The first part is more objective and tailorable which then integrates with the last part and express the concept I'm trying to sketch. |
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Hoskins-kin
Joined: Jan 14, 2014
Posts: 10
Location: Honeoye Fall, NY
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Posted: Sat Jul 15, 2023 7:19 am Post subject:
Will Hoskins tonality experiments
Subject description: EM composer William B Hoskins experimented with 14 tone |
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There are a few recordings at the Jacksonville University library of some of his experiments
14-tone equal temperment
14-ton work: seventh chords/scales
14-tone work: scales cont'd
I think I might have some of his written notes on this as well. |
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110
Joined: Nov 04, 2024
Posts: 1
Location: de
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| Posted: Mon Nov 04, 2024 8:28 pm Post subject:
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my schönberg sequencer module (custom software) does exactly that.
without even bothering about the question whether it can be legit to change the original concept i intuitively gave it 4 different inputs - and depending on which input you trigger it, it will output 1, 2, 3 or 4 notes at once. |
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Hoskins-kin
Joined: Jan 14, 2014
Posts: 10
Location: Honeoye Fall, NY
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Posted: Mon Sep 14, 2026 7:48 pm Post subject:
Will Hoskins 1950 proposed book MODERN TONALITY
Subject description: W Hoskins' thoughts on tonality - he wrote some 12-tone |
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The manuscript transcription from old typed pages that I can make available might be of interest to people who think a lot about tonalities in music composition. WBH contrasts the methods of "common practice" composers up to the 1950s with the new tonalities being expressed in the first decades of the 20th century. He starts to set forth his own concepts:
| Quote: | | "To guide our "ears" in judging relative amounts of harmonic tension, I have suggested the following five-place scale: 1- Zero or very low tension; triads, especially in root position; other chords which have been found suitable for concluding compositions. 2- Mild dissonance; V7, II7, etc. 3- Moderate dissonance: Non-dominant 9th chords, V13, etc. 4- Strong dissonance: Complex chords involving readily understandable relationships among the notes; chords which, though dissonant, can be penetrated and "understood" by our ears. 5- Extreme dissonance: Chords which give an "opaque" effect to our ears; chords whose functions and internal relationships are obscured by the amount of dissonance in their composition. It is in dealing with types 4 and 5 that the reckoning of intervals becomes most valuable." |
Much later in the chapter 2 materials, he says:
| Quote: | "Whereas we hear progressions either by whole or by half-steps as "stepwise motion" (which should be shown by the notation as a row of notes on adjacent degrees of the staff), our notation system will show as stepwise motion only certain mixtures of whole and half steps. This is because our notation system was designed to deal with the diatonic scales. It does not permit us to show small pitch inflections, useful for expressive purposes. Its rhythmic signs are similarly limited; it expresses a small range of rhythms adequately, but will show more complex patterns only with difficulty and with the use of extra signs.
A notation system properly designed for our present stage of musical development would show at a glance the difference between a whole and a half-step in pitch, without the use of special symbols. It should be capable of showing small pitch inflections; and it should make available a larger quantity of rhythms which could be expressed without patchwork additions to the system." |
Further delving in the WBH correspondence and other files on music theory will be required to see if he carried these ideas further after 1950, when he stopped this book development after outlining and diagramming tonal spaces that he was discussing. In the ensuring 6 years, he became a father of four children and a busy administrator of a growing music department at Jacksonville University, so his time for developing his tonal theories and notation systems became constrained.
I *thinK* there may be some 12-tone material in the JU archive of his compositions.
In the late 1960s when he started corresponding with Bob Moog and exploring the potential for electronic music, tonality would become extremely flexible as shading between tones and use of varying pitch and rhythm was possible with the flick or a wrist or toggle. Did this destroy the reason he felt compelled to start writing "MODERN TONALITY"? |
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