This work focuses on the collocation and counterpoint between similar timbres in the same acoustic properties. In this state, any slight deformation, expansion, and supplement are magnified. This represents my thinking and exploration of the aesthetics of "noiseism": Trying to construct a "harmonic system" through these unconventional gestures.In the first section, it develops two different sonic state, which are “staccato” (A(M.1-2)) and “linear” (B(M.3)) at the same time, These two materials are gradually increased the length between M.1--M.1. In the second section, sonic states A and B were developed separately. In M.18--M.34, A gradually fills the gaps between percussive speakers in the form of several subsections (this design is also due to the characteristics of percussive materiel) and transitions to material B (linear material) In M.39--M.52, when I was developing material B, I gradually thickened the sound in the form of long lines and sentences, paving the way for the final climax.the work ushered in the third part--Improvasition section, which is also the climax and coda part of the work. All of its material is derived from the sound elements that appeared in the previous passages. The similarity in the acoustics of the individual voices also lends this passage an impressive effect.
Micro-chromatic: Toccata--For Pierrot Ensemble
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Hinzugefügt am 17 Februar 2024
Credits & Dank
This work focuses on the collocation and counterpoint between similar timbres in the same acoustic properties. In this state, any slight deformation, expansion, and supplement are magnified. This represents my thinking and exploration of the aesthetics of "noiseism": Trying to construct a "harmonic system" through these unconventional gestures.In the first section, it develops two different sonic state, which are “staccato” (A(M.1-2)) and “linear” (B(M.3)) at the same time, These two materials are gradually increased the length between M.1--M.1. In the second section, sonic states A and B were developed separately. In M.18--M.34, A gradually fills the gaps between percussive speakers in the form of several subsections (this design is also due to the characteristics of percussive materiel) and transitions to material B (linear material) In M.39--M.52, when I was developing material B, I gradually thickened the sound in the form of long lines and sentences, paving the way for the final climax.the work ushered in the third part--Improvasition section, which is also the climax and coda part of the work. All of its material is derived from the sound elements that appeared in the previous passages. The similarity in the acoustics of the individual voices also lends this passage an impressive effect.
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