Dialogue Redux 2004.10.12 c. 00:31-00:44 UTC
for small ensemble and electronic sounds

Christy Banks, clarinet a.e.* Rusty Banks, guitar a.e.*
Willa Foster Jones, organ Sean Jones, percussion a.e.*
Richard Jones, moderator, computers, Lexikon-Sonate
* acoustically enhanced



Dialogue Redux 2004.10.12 c. 00:31-00:44 UTC is music which can be described as specific-electro-acoustic- algorithmic-soundscape-improvisation, or, as I have labeled it "moment music": music composed in and existing for a specific moment. This is literally new music because all music will be composed as it happens, either by computer or by live performer. This music is not necessarily intended to be saved, replayed or reproduced. It is what it is when it is, and is never to be experienced again in another point in time in the same way or manner. 

The title, although somewhat cryptic in nature is actually a simple explanation of the content and structure of the music as well as a time stamp for the moment in which it was realized.  "Dialogue" refers to the interplay between live musicians and the electronic sounds.  "Redux" has multiple references.  The first reference is to the texturally thematic material (thematic texture) found in the first section which returns in the third section and the coda.  The second reference is to musical quotes from composer Karlheinz Stockhausen (b. 1928) which are used as material for thematic texture.  Excerpts from two of Stockhausen's classic works, Kontakte (1959/60) and Mixtur (1964) and from his more recent opera Elufa (1991) are brought back or returned to in various permutations throughout the work. "Redux" also because this is a return for me as a composer to work in the electronic medium in which I began.  The rest of the title "2004.10.12 c. 00:31-00:44" UTC is the Coordinated Universal Time for the time period in which the music was realized and existed.

This music also contains another classic element, an extended arch or ABA form.  Best labeled as compound ternary in form, thematic texture material from the A section is contrasted, transformed and developed in the B section before and returning to the A material.   

A                              B                              A'

[ a  b  a' ]  transition  [ c  d c' ]  re-transition  [ a' b  a ]  coda

Each main section contains a unique thematic texture consisting of four electronic sound sources: Stockhausen quotes, other found sounds and completely new sounds which I have created. These sounds are manipulated via an algorithmic soundscape generator that creates an ever-changing and never-repeating soundscape in real time.  Within each main section, the soundscape is interpreted and commented on by the live musicians according to a predetermined entrance/exit order for the primary instruments or by "comment weight" for accompanying instruments.   The transition, re-transition and coda material are generated via a different algorithmic process that superimposes new musical structures onto existing music by turning special mathematical integer sequences into new musical forms.  Peak discourse occurs in the "d" section where the thematic textures from both the A and B sections is transformed and developed by deconstructing the material and recomposing it via yet another set of real-time composing algorithms.  The live musicians continue to comment on this process, adding more depth to an already rich texture. In the return of the A material, the clarinet, guitar and percussion are electronically processed and added to the electronic matrix. The organ remains acoustically pure.

A unifying force throughout the music is the use of the Lexikon-Sonate, an algorithmic computer-controlled piano.  This instrument is integral in creating a harmonic and melodic language and is a catalyst for triggering and soliciting dialogue between the live musicians and computers. Beginning as a solo electronic instrument in the center of the audio spectrum, the Lexikon-Sonate eventually joins the other electronic sounds. By the coda, the Lexikon-Sonate and companion material pans the complete audio spectrum, soliciting more dialogue, and, when none is found, it moves on to another dimension.

A special thank you goes to the live musicians Christy Banks, Rusty Banks, Willa Foster Jones and Sean Jones.  Without their expertise and creativity this music would not be possible.

 

R. Kent Jones
October 2004