| N-Space |
 |
 |
 |
| Written by Joel Becker |
| Monday, 21 March 2011 19:59 |
Here are two pieces composed by a computer program I wrote called "N-Space". The method of composition used by the program is explained below.
Music as a Journey through a SpaceMusic can be understood in a number of different ways: music as an emotional journey, music as a story, as an experience of sounds, as an audible structure, etc. The approach taken by N-Space is music as a journey through a space containing audible entities. As the listener travels through the space along a path, he hears the entities become closer and further and he passes by. This approach opens some very interesting possibilities.
Musical Form as a Geometrical ConsequenceThe form of each N-Space piece is determined by the path through the space. In the case of "n-space 10", the three-lobed path creates a Rondo form! Specifically, it produces the form ABACADABA, with A being the center of the shape. If you follow the white path around each lobe in order, you can see how this is accomplished. Since four lobes are travelled (the first one twice), each node lasts exactly 15 seconds long in the minute-long piece. At each 15-second interval you can hear the same A section (which is basically just a few chords). The path of the second piece, "n-space 17," is a spiral which starts at the center and spirals out, then back into the center. This creates an arc form, which is generally something like ABCBA. Because the spiral increases its radius slowly, the piece is rather minimalist, slowly transforming the theme into another them, then another, then backwards through the themes. Thus it is hard to give it a precise "ABCDCBA" type form.
Composing the HarmoniesN-Space is given certain parameters for each composition, including the equation defining the listener path, how to choose the audible range (radius) of each entity, etc. Another parameter tells N-Space which intervals are allowed between simultaneously-audible pitches. Entities whose radii overlap are simultaneously-audible. If random pitches were chosen, the pieces would be full of dissonance. By constraining them to a set of consonant intervals, beautiful harmonies result, which in my opinion is particularly the case with "nspace 10."Future DirectionsThere are so many other possibilities to try with N-Space: creating forms with different paths, placing the entities differently than a regular grid, chordal entities, three-space instead of two-space, etc. Also, if I output the composition with 3D sound capabilities, such that each entity were heard as it would sound coming from its location, then perhaps the listener would actually sense the direction of travel, and experience some orientation in the space. |
| Last Updated on Sunday, 23 October 2011 07:49 |
The space of the first piece, "n-space 10," is shown to the right. The "N" here is 2, that is, 2-space, or "two-dimensional space." The many colored circles are the entities and their boundaries. They become just audible at their boundaries and are loudest when the listener is right at the center. Where their circles overlap they are heard simultaneously. Each entity is an individual pitch in this case. The white, three-lobed shape in the middle of the image, if you can make it out, is the path that the listener travels over the course of the piece: first the upper-right node, then the left node, then the lower-right node, then the upper-right once again.
Subscribe to the Newsletter
Find out when Joel has new music by subscribing to the periodic news letter. Just enter your e-mail address below and click the "Subscribe" button.
