Composition portfolio

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Composition portfolio

A thesis

submitted in fulfillment

of the requirements for degree

of

Master of Music in Composition

at

The University of Waikato

by

Bo Yue ( Maggie)

The University of Waikato

2011

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Bo Yue (Maggie)

MMus Composition Portfolio 2011

Abstract

This portfolio of original compositions includes two acoustic works and four electro‐acoustic works. Surrounded in the dark is a trio for clarinet, violin and violoncello in two movements. It explores a variety of emotional experiences in a world full of darkness. You zi yin is a multi‐media electro‐acoustic piece that combines acoustic and electro‐acoustic techniques to portray the relationship between a mother and her son. The electro‐acoustic work Small

change explores relationships people have with hard currency and the

emotions it evokes. Samsara is an orchestral work in three movements that explores the idea of a never‐ending cycle of birth, death and rebirth. After

dusk is a dramatic electro‐acoustic work that is composed of samples from a

woodblock and a violin. The work was inspired by the poem ‘Fire and Ice’ by Robert Frost. The sound track to A tick is the last work in this portfolio, it is based on a movie of traditional Chinese shadow puppetry that describes a story about two frogs, a crane and a turtle.

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Acknowledgements

It has been very challenging to complete this composition portfolio this year. The process of creating new music requires great deal of knowledge and creativity, with many long days and nights spent waiting for inspiration to come. Today though, I have accomplished what I set out to achieve, yet this couldn’t have been possible without many people helping and supporting me along the way.

First and foremost I would like to thank Ian Whalley for his patience, support, insight and constant encouragement. From you I have learnt how music explores the idea of art. Through your unending encouragement, I have become more confident and want to challenge myself and use my heart when composing. Without your patience and encouragement for many years I would never have got to where I am today. Much appreciated! Thank you so much. Michael Williams for his humor, patience, kindness, insight and encouragement. Through your insight, my passion and potential for composing music has greatly developed over the years. Also you have built up my confidence and encouraged me to continue on my musical journey; somehow you have been able to bring out the best in my work. Without your support, I don’t know how I would have made this project a reality today. Thank you so much.

Martin lodge for his kindness, endeavor, patience and insight. Without your support I wouldn’t be here today and whenever I have been at my wits end with my study you have been able to help me continue and finish what I needed to do. I can’t thank you enough. The University of Waikato music staff and fellow students, I am forever grateful for the incredible support in these past five years.

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To the performers who spared their valuable time to perform my compositions, in particular Ying Te liu, Sarah Lee, Julia Newland, Constance Shu, Di Ren jie. Thank you for your time and effort, it is much appreciated. My parents; Ya zhou Yue and Chen hua Feng, and good friend Hannah Gilmour. Your love and unending support has enabled me to stay in New Zealand and have a great experience studying here. Thank you so much for bearing with me though a very long year.

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CD Listing v Introduction vi 1. Surrounded in the dark for clarinet, violin and violincello Introduction 2 Scores 4 2. You zi yin electroacoustic work Introduction 22 Instrumentation 24 Scores 25 3. Small change electroacoustic work Introduction 29 4. Samsara for orchestra Introduction 32 Instrumentation 35 Scores 36 5. After dusk electroacoustic work Introduction 107 6. A trick soundtrack for Chinese shadow puppetry Introduction 110 References 112

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CD track listing

1. Surrounded in the dark for clarinet, violin and violoncello I ‐ Ying Te ‐ clarinet, Julia Newland ‐ violin, Sarah Lee ‐ violoncello I ‐ MIDI recording II ‐ MIDI recording 2. You zi yin electroacoustic 3. Small change electroacoustic 4. Samsara for orchestra I‐ III MIDI recording 5. After dusk electroacoustic

DVD track listing

1. A trick soundtrack for Chinese shadow puppetry

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Introduction

Music is a language, art and a reflection of the deepest spirit and emotion of humanity. This is fascinating, because when you are listening to a piece of music you become deeply involved in your own journey. This composition portfolio explores my creative talents, drawing on ideas from a personal level; yet it has provided many abstracts and challenges along the way. The portfolio explores several varieties of music styles, ideas and inspirations in six compositions.

Surrounded in the dark for clarinet, violin and violoncello is based around a

secret or mysterious image of a world in darkness. As the title portrays, it was written as an expression of the invisible light space perceived during the night.

You zi yin is a electroacoustic work written inspired by the poem ‘You zi yin’,

score for pipa and male voice. The work aims to convey the mother’s heartfelt love for her son and pay tribute to this selfless love. The famous Chinese poem ‘You zi yin’ is combines the pipa and male voice in an electroacoustic environment and, explores eclectroacoutic techniques to describe the emotions of the relationship between mother and son.

Small change is an electroacoustic work created from several sound samples

of coins. Sonically it explores the relationships people have with hard currency in the contemporary world.

Samsara is a large orchestral work in three movements. The title ‘Samsara’

refers to the never‐ending cycle of brith, death and rebirth. The inspiration for the work came from the word samsara, exploring each of the cycles in the three movements.

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After dusk is an emotionally dramatic electroacoustic work, created from

samples from a violin and Chinese woodblock (mu yu), and was inspired by the poem ‘Fire and Ice’ by Robert Frost.

The final work in the portfolio A trick is a soundtrack composed for a Chinese shadow puppetry video. This has a 2000 year history in China and is often shown live and performed on traditional Chinese instruments. The sound track has been composed using electro‐acoustic technology, this being a more contemporary way of setting music to Chinese shadow puppetry.

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Surrounded in the dark

for

Clarinet, violin and violoncello

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Surrounded in the dark

for Clarinet, violin and violoncello

When the sun has set, the world seems to sleep deeply again. Light has become invisible and the ability to distinguish details is lost. A world of darkness surrounds us. This work is written for Clarinet, Violin and Violoncello. The pitches for the first movement have been derived from traditional Chinese court music ‐ Ya yue and Yan yue. Ya yue is C, D, E, F#_{, G, A, B and Yan yue is C, D, E, F, G, F, G, A,} Bb_{, when combined these become the synthetic scale used in this work:} The main theme of the work begins in the clarinet and represents the setting sun. The counter melody is introduced in the violin and the violoncello, painting an atmosphere of a dark landscape. After this introduction the strings enter with a quirky rhythmic motif that has been used to imitate small creatures that are surrounded in the dark.

For the development section, the themes become more characteristic in nature and are transposed in pitch. Gradually they become more intensive as they grow towards the main climax at bar 95. The ending sees the return of the main theme that fades to a peaceful and serene conclusion.

For the second movement a chromatic scale is used to explore the unexpected and mysterious nature of the dark landscape. In this movement extended techniques have been used such as slap tongue, flutter tongue and sub tones

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in the clarinet. This short rhythmic triplet motif below has been used to develop the rhythmic changes and modulate the melodic theme. The main theme returns and moves towards a quirky ending. Duration: 10’15”

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You zi yin

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22

You zi yin (A travelers’ song) 7’17”

Electroacoustic work 慈母手中线，游子身上衣。临别密密缝，意恐迟迟归。谁言寸草心，报得三春晖。 Translation: The thread in the hands of a fond‐hearted mother Makes clothes for the body of her wayward boy; Carefully she sews and thoroughly she mends, Dreading the delays that will keep him late from home. But how much love has the inch‐long grass For three spring months of the light of the sun? Poem by Meng Jiao( Tang dynasty)1 You zi yin is the title of the poem that depicts a son’s appreciation, love and respect for his mother. When composing You zi ying, the intention was to convey music that would stir the emotions of the listener. In my work the main motive is played on the pipa and explores the relationship between the mother and son. The pipa emphasizes the mother’s heartfelt love for her son and pays tribute to the mother’s selfless love.

The pipa was recorded separately from the poem in a sound proof studio at The University of Waiakto. At both sessions the performers were able to hear a recording of the other whilst recording their parts. The composition was put together and developed using Ableton Live, and finally mastered on Pro tools HD.

The work can be broken down into roughly four different sections: A, B, C, D/A’.

The A section introduces the poem which is very fragmented, has multiple

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23

pitch shifts and panning gestures. At 1’13” the pipa melody is emphasized through creating stillness and silence, this evokes the sense of the caring nature between the mother and son. At 1’52” the warbling gesture in the pipa and the male’s deep breathing become the transition into the next section.

The B section begins at 1’57” with the original pipa melody. This grows by adding harmonic gestures, reverb and delay to create a small climax in this section. The male’s voice suddenly enters here with panning, delay and reverb to create the effects needed. This section ends at 4’12” when the pipa melody falls down and fades away.

The contrasting section starts at 4’12”. In this section there is an emphasis on harmonic development and timbral colors. Using spectral effects, harmonic filters and different reverbs, it creates the atmosphere of worry and anxiousness. Gradually this section gets more complex and tense, later fading until nothing as it moves into the next section.

The D/A’ section begins at about 5’17” and builds to the main climax at 6’25”. Here harmonic filters, pitch shifts, delay and sped‐up samples are used to create tension, mostly in the pipa melody. This adds to the dramatic sense and shape of the piece. After the climax it becomes much more peaceful, slowly relaxes and fades away.

The piece finishes with the male’s voice that has been developed and extended using reverb. This combines with the upper harmonics of the last remaining notes of the pipa melody to bring the piece to a close.

Please note: the score for the pipa is an outline only.

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24

Instrumentation

-‐半轮（four fingers rolling） ‐‐吟，揉（rubbing the string） ‐‐轮（five fingers rolling） ‐‐扫（strum the four string together from right to left） ‐‐弹 & ‐‐挑（first finger picking the note from right to left & thumb picking the note from left to right） ‐‐撞（pull or push the string to make the pitch gradually higher） ‐‐挑（picking the note）

‐‐双挑（use thumb double picking closer to strings to make sound together） ‐‐双弹（use first finger picking closer to strings to make sound together） ‐‐无限反复（repeat continuesly） ‐‐ 拂 (strum the four strings together from left to right）

Performance instruction:

Rhythm values are a guide only, this piece should be played very freely.

(34)

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Small change

Electroacoustic work

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29

Small change 8’30”

Electroacoustic work

It seems that in the contemporary world people are obsessed with money, and we cannot live without it. Small change has a much greater value than is initially perceived. While people tend to think of it as having very little value, not caring too much outwardly, this is often to save face or pretend how wealthy one is. Small Change takes this idea and explores it sonically. It is developed from a few sound samples of coins, and explores the relationships people have with hard currency, and the emotions it evokes.

There are four motives: Entering the dream, exploring the dream, the nightmare and waking up from the dream. Each of these are associated with the respective sections in the work. Some of the coin samples were chosen from a selection at www.freesound.org, others were sampled using a TASCAM DR‐07 solid‐state recorder. The whole work is based around these coin samples and realized using Albeton Live, Metasynth and Pro tools HD. I have composed this piece with four main sections, giving it a form A, B, C/A’, D/A”. The opening section starts with four simple sound drops; these represent the entry into the dream world. A coin is then thrown into a metal bowl that evokes the dream of the money world ‐ this is the main motive for this piece. The spinning coins theme that is used gradually gets more and more fragmented, with the pitches shifting and evoking the wishes of the dreamer.

The B section starts around 2’50” where coins drop onto one another, forming a hill of coins. At 3’11”, the spinning coin sample gradually changes chromatically and rhythmically to become more frantic. There are a higher

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30 frequency spreads with panning used extensively to help create the ethereal sounds of the dream land. This fades out to the main motive‐a coin dropped in a metal bowl. The C/A’ section at 4’50” fades in with a long gesture that helps to create a relaxing atmosphere. Rhythmical and melodic accompaniment is used here with panning to create a transition to the next motive. At 5’33” the main motive returns, becoming fragmented and layers of harmony are added to create the main climax. A fast rhythmical gesture similar to that of a moving train is used to imitate the emotion of losing small change whilst moving. This helps to build up the sense of anxiety and fear leading to the climatic point.

The final section is brought about at 7’22” with a few slowly spinning coins, the coins seem to float around and gradually come to a stop. The sound gradually becomes distant and with harmonic images drifting in and out. The piece is ends with a return of the main motive.

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Samsara

for

Orchestra

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32

Samsara

for

orchestra

This orchestral piece explores ideas of a never‐ending cycle of birth, death and rebirth. In Sanskrit this is described as samsara. Composed in three movements with each having its own theme, the first relates to birth, the second to death and the third to rebirth.

1st_Movement:

The first movement opens with ppp in the timpani and suspended cymbals, followed with the violoncello and double bass. They introduce the quasi passacaglia form as a bass motive. The main theme enters at bar 8 in the bass‐clarinet and is shared between several instruments, rising in pitch and driving forward to create tension. Short triplet motives are interwoven through the main theme to create rhythmic color and intensity.

The main theme gradually becomes more fragmented, developing and modulating to build up to the main climax at bar 32. This fades out into the next section with short contrasting phrases. A solo oboe introduces the second motive at bar 38 over a variation of the original passacaglia in the strings. From bar 46 to the end the scale‐like passages change in texture producing more tension towards the end. 2nd _Movement: The harmonic changes in the second movement are based around the pitch class sets as used in the third movement. It has been transposed up perfect 5th_:

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33

The work opens with a strong melody in the viola and cellos, with unusual phrase lengths and wide dynamic changes. Here the strings are giving the impression of darkness and loneliness, as this movement is portraying of death. At bar 20 the cello introduces the main theme before being passed into the violas and horns. This time the theme is transposed up a third. Like the first movement the main theme becomes more fragmented, developing and modulating to create tension at the small climactic point at bar 76. There are several rhythmic motives used in this movement such as:

Repeating notes and tremolos on certain notes have been used to increase rhythmic and harmonic tension leading to the main climax at bar 98. For the final section (coda) the returning motive from the A section is used as a canon in the pizzicato strings. A contrasting melody builds up tension before the motive returns again, this time doubled in the second violins and modulated. The contrasting melody begins again and gradually builds up in volume and tension to the end of the movement. 3rd_Movement: The third movement represents the suspense and excitement of rebirth. The main theme is based on a single pitch class set:

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34

A matrix was constructed around this set and the entire work is generated from these materials. The texture of this movement is loosely based around the sonata form. There are several rhythmic motives used in this movement such as: These repeating note motives have been used to build up tension leading to a small climax at bar 37. This fades out to rehearsal mark C. Here the material for this section is made from a retrograde inversion of the matrix. This can be seen as the first stages of entering into the world as it builds up to the climax of the movement at bar 103. A variation of the contrasting theme continues from the climax and gradually moves into a new section before building to dramatic ending with the final return of the first motive.

Score in C

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35

Instrumentation:

2 flutes 2 Oboes 2 Clarinets in B flat 1 Bass clarinet in B lfat 2 Bassoons 2 Horns in F 2 Trumpets in C 2 Tenor Tromnones Timpani Percussion: Triangle, crash cymbals, suspended cymbals, snare drum, Tam‐tam, Xylophone Strings Score in C Duration: 16’45”

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