Completed Compositions

Epitaphium-1: Gehrig, Hawking, Ledbetter is a sound collage constructed of found sonic objects, digital rendering of speech from text, algorithmically generated sound, and traditional compositions. The brief, rhythmic introduction was generated by RGB-to-note mapping of a Mandelbrot set. It represents the characteristic disorganization of bioelectric signals in motor neurons affected by amyotrophic lateral sclerosis. This is followed by speech synthesis of the text of Lou Gehrig's farewell address superimposed over dissonant, algorithmically generated sounds reminiscent of a choir. Actual fragments of Gehrig's speech appear as well. A melodic interlude employing a shakuhachi is followed by the traditional Appalachian melody “Percy’s Farewell to Red Gap", which is accompanied by a thundering tone cluster implying all possible notes in the melody. The next section is a text-to-speech rendering (essentially a direct quotation) of Stephen Hawking’s comments concerning the affects of living with amyotrophic lateral sclerosis. His speech is accompanied by the Hebrew liturgical melody "Rock of Ages", traditional Scottish bagpipe tunes, and the return of the shakuhachi melody. This leads to an interlude consisting of the simultaneous harmonization of the hymn tunes "Simple Gifts" and "A Firm Foundation". The final section consists of a text-to-speech rendering of Pete Seeger’s recollection of the musical prowess of Huddie Ledbetter. The composition concludes with a truncated fragment of “Amazing Grace” played on slide guitar. Due to its episodic nature, this composition may be performed with the use of adaptive technology by a group of musicians living with amyotrophic lateral sclerosis.

Epitaphium-2: Six Epitaphs is a collection of six miniatures, all generated with an algorithmic composition application. The final piece incorporates the original audio advertising for the Edison talking machine. Pentatonic scales were used, giving some of the pieces the sound of a gamelan orchestra.

Three Bagatelles: Experimental Section, Spin Echo, April was generated entirely by algorithmic techniques combined in collage with found sonic objects. “Experimental Section” represents the thought and physical processes employed by an Organic Chemist during the design and execution of a synthetic “step”. The “spoken” text was taken from a thesis submitted to the faculty of the Chemistry Department of the University of Illinois, Urbana in partial fulfillment of a PhD degree. The percussive finale was suggested by the conclusion of Stravinsky’s “Les Noces”. “Spin Echo” is a musical representation of a technique used by spectroscopists for the elucidation of the structure of Organic compounds. “April” employs spoken fragments from T.S. Eliot’s “The Wasteland”, grotesque MIDI implementations of Stravinsky’s “L’Histoire du Soldat”, synthesized sounds reminiscent of the chants of Buddhist monks, and Gregorian chant. It is meant to suggest dissolution.

Serenade for Winds, Percussion, and Organ was composed for orchestral wind section (2 fl, 2 ob, 2 cl, 2 bn, 2 tp, 4 hn, 2 tb, 1 tu), percussion battery, and pipe organ. The organ figures prominently in movements 2 and 5 of the five-movement piece, which employs original and liturgical melodic material. Although the melodic content is markedly tonal, the harmonic treatment is quite dissonant. Major influences include Hindemith, Schuman, and Persichetti.