No description available.

No description available.

No description available.

Abstract Not Available.

Musica para dos megainstrumentos y grupo de camara (Music for two Megainstruments and Chamber Ensemble) is a six-section piece written for two violins (treated as a megaviolin), two flutes (treated as a megaflute) and chamber ensemble. Both the form and the different tempi of the piece are determined by the interaction of the two mega-instruments and the ensemble. The piece is an original contribution in its concept and use of the megainstruments. A mega-instrument is composed by two single instruments of the same kind. The main function of the mega-instrument is that of expanding the technical possibilities of the individual instruments that constitute it, as well as creating new possibilities, while keeping, at the same time, the specific characteristics or "personality" of the original instruments. In the Primer ensamble and Segundo ensamble sections the two mega-instruments are incorporated into the ensemble and treated as four individual instruments. The basic pitch structure of the piece is represented by SC [014], which is further organized in a six-note scale that is a member of SC [014589]. The six-note scale (used in the piece as an unordered set) and its three available transpositions create a universe of four pitch regions with two different modulation levels to connect them. Pitch Regions are also used simultaneously in the piece. This procedure (that I have called a multi region) includes harmonic and/or melodic intervals that are not available within single pitch regions. The piece could be defined as atonal or without pitch centers. It is characterized by an interaction of the tempered system and the pitch continuum (microtones and glissandi).

Ribbons of Visible Air is a work of about twenty minutes duration for soprano saxophone, violin, cello, piano, one percussion, and live digital sound processing. Though the work unfolds as one continuous movement, it is conceived as being in several sections, each lasting from approximately one to four minutes. The primary ideas behind the form of Ribbons of Visible Air originate in the concerto principle (with the saxophone in the role of soloist) and variation technique; these ideas influence not only the large-scale form, but also the organization of material in respect to the different instruments and the relationship of the ensemble as a whole to the electronic processing. This composition explores a number of harmonic techniques related to the harmonic series, as well as the rhythmic possibilities inherent in multiple levels of pulsation. Of particular relevance to this work is the incorporation of extended techniques of the soprano saxophone, especially the alteration of pitch and timbre through unorthodox fingering patterns.

Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).

Swallow, Egg, Chrysanthemum is a sixteen minute work for piano and orchestra. The title refers to symbols from Greek, Western and Asian cultures, with all of the symbols being associated with life, death, or resurrection. Over the course of the piece the interaction of the piano with the orchestra creates a metaphor for the journey of the human soul through the three states of existence. Each of the three contiguous movements carries the name of one of the symbols, whose physical aspects influence the internal form of the movement. In recognition of the conflict between an acceptance of life and death, and a belief in life, death and resurrection, the work contains coexisting two- and three- part forms. At the temporal level, “Swallow” is balanced by “Egg” and “Chrysanthemum”, and this balance is aided by a blurring of the boundary between the last two movements. The musical language of the work is based in part on the use of cyclical, diminishing permutations of pitch collections, which are themselves derived from a master pitch group. The permutations reduce the number of pitches in each collection, creating an apparent “zeroing in” on a single pitch or “tonic goal”. As a result, moving backwards or forwards through the reductive process can increase or decrease the musical tension of a particular passage, by altering the number of pitches present. Twelve harmonic areas are created using this technique, and over the course of the work each of them is touched upon, with certain ones being of greater importance. Foreshadowing has been used in the form of the work as a unifying device and is present at the micro and macro levels. The form of the Introduction can be mapped onto the first two movements, and onto the piece as a whole. In the last movement a process of postshadowing occurs, whereby earlier material is reinterpreted and transformed in a summation of the work.

...then time killed the wind... is an original musical composition scored for percussion quartet and electronics with a duration of fourteen minutes. This work explores metaphorical relationships between biological processes and musical processes. The primary constructive element in the work is a rhythmic language based upon the assignment of rhythmic cells to genetic sequences. Furthermore, biological models such as inverted repeats, zeitgeber, 2-D representations of DNA and cross-breeding were applied to musical parameters such as form, pitch, harmony and live electronics.

No description available.