Multidimensionality & Nonlinear Phenomenon

Multidimensionality & Nonlinear Phenomenon

My compositions are involved with the systematic exploration of scaling the multidimensional phase space that results from a desynchronization of one or more elements involved in sound production. The outputs often feature nonlinear phenomena (extra-complex sonorities) in which all attractor states (classes of sounds) are obtained through bifurcations (changes between classes) in any direction. These procedures utilize topological inquiry focused, by default, on little traveled regions of the total sonic map. It is important to recognize that such multidimensional networks do not just focus on articulation, such as is dominant with most other composers who utilize multidimensional networks. Rather, it utilizes all structural components of the mechanical system: Power, Source, Resonance & Articulation and how desynchronization will affect a meaningful (perceptible) sound difference from ordinario.

Naturally these procedures will impact the perception of consonance v dissonance  as well as the musical tension of an audio output, and may be utilized as intelligent generative procedures.

Published work that specifically discusses such ideas can be found in the following:

BOOK

Edgerton, M. Music Within the Continuum. Lambert Academic Publishing (72 pp.). Saarbrücken: Germany, 2015.

JOURNAL ARTICLES

Edgerton, M.E., Hashim, N., Auhagen, W. (2014) A case study of scaling multiple parameters by the violin. Musicae Scientiae, Vol. 18(4) 473–496.

Edgerton, M.E. (2012). Desynchronized and Scaled, Multidimensional Networks: Acoustics and Perception. Music and Memory. UPM Book Series on Music Research IV. Edited by Gisa Jähnichen and Julia Chieng. Serdang: UPM Press.

Neubauer, J, Edgerton. M, and Herzel, H. (2004). Non-Linear Phenomena in Contemporary Vocal Music. Journal of Voice, 18:1, 1-12.

Edgerton, M.E., Neubauer, J., Herzel, H. (2003). Nonlinear Phenomena in Contemporary Musical Composition and Performance. Perspectives of New Music, 41:2, 30-65.

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