DARWIN'S DREAM II
DARWIN'S DREAM II
improvisation ensemble of 3 to 6 players, including piano and percussion chamber ensemble, video projections with sound
(Composer's program note excerpt)
The primary idea behind my composition is that of generating a musical process and seeing what happens to it: not necessarily "evolution" in the scientific sense, but a brand of musical "development" -- organic growth and gradual change. Accordingly, Darwin's Dream begins with a perky little electronic motive (created on an ARP synthesizer at Bowdoin College some 30 years ago). It is quite repetitive at first, almost minimalist, but gradually a few other layers of sound from my memory bank (literally, early works of mine taken from my tape collection) are added to the mix, altering the course of the soundscape. Whenever a fairly dense texture is reached, I return to the original electronic tune and add a completely different set of sound-memories, leading to another altered fabric. The very last of these alterations produces the most complex texture of all, and segues into a snatch of the 1950s worm music -- only to fade away to my original little tune.
Authored (or revised): 2011
Duration (minutes): 14
Book format: score with video/audio file
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(Composer's program note excerpt)
The primary idea behind my composition is that of generating a musical process and seeing what happens to it: not necessarily "evolution" in the scientific sense, but a brand of musical "development" -- organic growth and gradual change. Accordingly, Darwin's Dream begins with a perky little electronic motive (created on an ARP synthesizer at Bowdoin College some 30 years ago). It is quite repetitive at first, almost minimalist, but gradually a few other layers of sound from my memory bank (literally, early works of mine taken from my tape collection) are added to the mix, altering the course of the soundscape. Whenever a fairly dense texture is reached, I return to the original electronic tune and add a completely different set of sound-memories, leading to another altered fabric. The very last of these alterations produces the most complex texture of all, and segues into a snatch of the 1950s worm music -- only to fade away to my original little tune.
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