Thesis for Master’s Degree in Music Composition at Rice University. To be performed by Shepherd Symphony Orchestra in the 2019-2020 season.
Resonance, environment, consonance and dissonance, flow, ritual: questions, dreams, and experiences with these ideas guide the orchestral work, sound.field. The composition can be thought as an aural environment partitioned by space, time, and notation. In this work, the orchestra functions as a vehicle of sound production to guide a listener through layers of space and time within an aural environment.
While writing this work, I often took breaks by reading Michel Chion’s “Sound: an acoulogical treatise.” Chion’s work articulates several aspects of the listening experience that have occupied my recent artistic practice, most especially sound perception. The material of sound.field is focused on narrowing the perspective of an observer of this work on aural detail present within the orchestra and the performance hall. The temporal experience of this material is imagined as if listening to a single microphone that is moved through a vibrant aural space which is ultimately sonified through an orchestra.
2+1, 2+1, 2+1, 2+1 - 4, 3, 2+1, 1 - timp+3, pft, hp - 18.104.22.168.6