1. DECISION AREA #3: SHAPE & FLOW EMPHASIS BASIC CHARACTERISTICS: Shape: literally plays with the ‘shapes’ of parameters in a relatively abstract way invites a contemplative mode of perception engages listener on a more demanding, intellectual level typical of acousmatic EA information more diffuse — either sparse, or too dense to perceive details on first hearing Invites repeat listening Equivalents in other forms: Writing: description plot Flow: uses parameters as required to create a compelling stream of sound for listeners aims to cause a more riveted form of perception engages listener in a less demanding way closer to musical and media approaches information more focused, linear and stream-like Does not usually require repeat listening for salient details DECISION AREA #2: PARAMETERS (micro- and macro- levels) Composition Process DECISION AREA #1: BASIC APPROACH AND MATERIALS FOR SOUND OBJECTS Remember that in the documentation for your original portfolio composition(s) [4:00 total, two shorter, or one long piece], you must address all of the major decision areas discussed in class, one of which has not yet been covered:

2. From Shape to Flow: Equivalent examples from literature Mallarmé — purely ‘shape-like’, abstract prose Miller — ‘shape-like’, but with trace ‘flow’ elements Tolkien a) — descriptive, therefore shape-oriented, but with stronger flow elements because of overall integration into a narrative context Tolkien b) — descriptive of a character, so shape elements are still strong, but more or less on an equal footing with flow because the character is a key narrative protagonist Tolkien c) — again descriptive of a character, but this time flow is stronger than shape because the description takes place during a more compelling narrative scene

8. Examples of how parameters and shape/flow interact: Hildegard Westerkamp’s Breathing Room PARAMETERS: —Gesture-based (activity of human breathing central) —Theme & Variations Structure —Rhythm component in heartbeat/drum element, which is also Gesture-based SHAPE/FLOW: —The gestural and rhythmic elements help promote flow, in that they draw us into the ‘story’ being told (or the ‘image’ being presented) and make the listener curious about what is coming next on the timeline. —The structural repetition of the breath pattern is shape-like, encouraging the listener to carefully examine details in the composition, e.g. the content of each exhalation, and also invites repeat listening to study those finer features.

9. Examples of how parameters and shape/flow interact: Robert Mackay’s Need Without Reason PARAMETERS: —Gesture- and Concept-driven (voice and poetry) —Significantly plays with Spectrum throughout —Frequency (glissandi, stable pitched sounds) is also a prominent parameter —Layering plays a key role insofar as textures shift between homogenous, homophonic and heterophonic textures SHAPE/FLOW: —Strongly driven by flow elements, primarily the voice, text, and melodic- harmonic musical materials. —The shape dimension is satisfied by detailed layering and spectral play, among other factors.

10. 9 parameter mini-piece: 1. For the 1st (A) section of the piece, choose a few abstract sounds from the sound bank e.g.:Design/Textures Ambience Texture and Atmosphere In Peak, SoundMaker and Deck, quickly create processed versions of the sounds that play with: Frequency (e.g. pitch bend, pitch shift) Amplitude (e.g. volume automation, envelope) and Spectrum (e.g. filter, harmonic rotate) Space (e.g. panning automation) Combine the original sounds and the variations in Deck to form the 1st section of the piece. 2. As a transition to the middle(B) section of the piece, create a sequence of sounds that plays with the Rhythm parameter (preferably not musical, metered rhythm, but something more complex and irregular that is nonetheless rhythmic in nature). The 1st section should fade out during the early part of this rhythmic transition, and the middle section should fade in during the latter part. 3. For the middle (B) section of the piece, choose & assemble recognizable sounds from the sound bank that play with Gesture (the sounds have the recognizable energy profiles of human, natural or machine actions) Layering (there are moments at which only one or a few layers are present, and others with many layers) Concept (the sounds and textures evoke images & associations from a wider social/cultural context) 4. For the final (A 1 ) section, copy, then create variations on, the 1st section to establish an A-B-A 1 macro Structure for the piece. Cross-fade between the (B) and (A 1 ) sections. Digital Techniques III Workshop

11. 9 parameter mini-piece in 90 minutes: 1. For the 1st (A) section of the piece, choose a few abstract sounds from the sound bank e.g.:Design/Textures Ambience Texture and Atmosphere In Peak, SoundMaker and Deck, quickly create processed versions of the sounds that play with: Frequency (e.g. pitch bend, pitch shift) Amplitude (e.g. volume automation, envelope) and Spectrum (e.g. filter, harmonic rotate) Space (e.g. panning automation) Combine the original sounds in Deck and the variations to form the 1st section of the piece. 2. As a transition to the middle(B) section of the piece, create a sequence of sounds that plays with the Rhythm parameter (preferably not musical, metered rhythm, but something more complex and irregular that is nonetheless rhythmic in nature). The 1st section should fade out during the early part of this rhythmic transition, and the middle section should fade in during the latter part. 3. For the middle (B) section of the piece, choose & assemble recognizable sounds from the sound bank that play with Gesture (the sounds have the recognizable energy profiles of human, natural or machine actions) Layering (there are moments at which only one or a few layers are present, and others with many layers) Concept (the sounds and textures evoke images & associations from a wider social/cultural context) 4. For the final (A 1 ) section, copy, then create variations on, the 1st section to establish an A-B-A 1 macro Structure for the piece. Cross-fade between the (B) and (A 1 ) sections. A section Rhythmic Transition B sectionA 1 section Digital Techniques III Workshop