The infinite lattice: a compositional exploration of symmetrical modes, modes of limited transposition and other musical parameters generated by low prime numbers
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(Remembering is a form of forgetting Elder con Symphony Orchestra)
(The un-tempered pianos played by Dylan)
(The un-tempered pianos played by Gabriella Smart)
(K played by Dylan)
Date
2019
Authors
Crismani, Dylan Joshua
Editors
Advisors
Whittington, S.
Bodman Rae, J. C.
Bodman Rae, J. C.
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Thesis
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Abstract
This doctoral research project at the Elder Conservatorium of Music, University of Adelaide, has addressed how symmetrical modes (in just intonation), and modes of limited transposition can be applied in conventional ensembles, and how low prime numbers can generate various aspects of a musical composition. The format of the submission is a portfolio of original compositions (chapter three) supported by an explanatory exegesis (chapters one, two, and four). The folio and exegesis investigate two key research areas. The first research area is concerned with how conventional instrumentalists, playing conventional instruments can play music written according to just intonation theory with limited alterations to musical notation, and with no specialised training in just intonation. This doctoral thesis exposes new methodologies, which address how consistent results in the first research area can be achieved. The second research area is concerned with how prime numbers can generate many aspects of a musical composition. The geometric symmetries of just intonation Tonnetzen are exposed, and discussed in relation to Un-transposable Harmonic Modes, which are also exposed for the first time. This thesis posits, and demonstrates that composing music in just intonation for non-just intonation specialists is a credible, and realistic pursuit provided the composer has sufficient knowledge of composition, just intonation theory, and adequate time to commit to the composition process. This thesis also aims to show that just intonation Tonnetzen, which are frequently represented as squares, are actually rectangular. New methods for generating tuning models, derived from geometric operations, are also discussed.
School/Discipline
Elder Conservatorium of Music
Dissertation Note
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2019
Provenance
This electronic version is made publicly available by the University of Adelaide in accordance with its open access policy for student theses. Copyright in this thesis remains with the author. This thesis may incorporate third party material which has been used by the author pursuant to Fair Dealing exceptions. If you are the owner of any included third party copyright material you wish to be removed from this electronic version, please complete the take down form located at: http://www.adelaide.edu.au/legals
Description
Portfolio of Compositions and Exegesis
Also included: Appendix A: Recorded performances relating to chapter three -- Appendix B: Sound files relating to chapter three
Also included: Appendix A: Recorded performances relating to chapter three -- Appendix B: Sound files relating to chapter three