Experimentation as a Central Element in Music Composition (Copy)

Figure 1. Transducer on drum head

Prototypes

Prototype 1

Figure 2. Prototype 1

Prototype 2

Figure 3. Prototype 2

Prototype 3

Figure 4. Prototype 3

Prototype 4

Figure 5. Prototype 4

Figure 6. Performing with the glove

Figure 7. Fixed position for the right hand.

   1)   Stick on the rim                  

  2) Fingertips on the skin

Figure 8. N1, work description p. 2

Figure 9. N1, work description p. 2

    Figure 10. Diagram of the magnetic gesture

Figure 11. N1 , work description p. 2.                                         

Figure 12.  Notation of complete action

Figure 12.  Notation of complete action

Figure 13.  Spectrogram and waveform of excerpts from the electronic component of the "magnetic" gesture

Figure 14.  Diagram of the clock gesture

Figure 15. N1 , work description p. 2

   Figure 16. Sonogram of the clock gesture

Figure 17. N1, Score excerpt, mesures 1 to 7

Figure 18. Sonogram of the digital export. Extract from Study N1, measures 1 to 7

Figure 19. Sonogram of the filtered digital export by the snare drum. Extract from Study N1, measures 1 to 7

Figure 20. The bass-shaker transducer on the skin of a bass drum (left) and the comparison between its size and the size of a hand (right).

Figure 21. Prototype Bass-shaker

Figure 22. Test of Prototype.

Figure 23. Part of score to renounce to body.

Figure 24. Additional indications for the performer

Figure 25. Excerpt from to renounce the body, mesures 9-12

Figure 26, Photograph of the device during the dress rehearsal

Figure 27.  Photo of the studio work for the composition of the piece

Figure 28. I can no longer…, Notation examples of several actions

Figure 29. I can no longer…, score excerpt

Figure 30. I can no longer… Sequence of performance gestures

Figure 31.  No maps for these territories. Pictures in order from left to right: waterphone, thunder sheet, snare drum and bass drum

Figure 32. No maps for these territories. Performance notes.

Figure 33. No maps for these territories. Score excerpt.

Figure 34, Transducer fixed on piano strings

Figure 35, Ayako Okubo (flutist) sympathetic vibration on the snare drum

Figure 36, Excerpt of the score Oil Rainbow, mesures 44-47, flûte and clarinette

Fig. 37. Excerpt from Oil Rainbow, mesures 109-113

Figure 38, Stage setup for Oil Rainbow