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An overview of systematic composition with an introduction to the Take-Away System

Description
A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's…

A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's Structures Ia . The purpose of this survey is to examine several systematic approaches to composition by prominent composers and their philosophy in adopting this type of approach. The next section of the paper introduces my own systematic approach to composition: the Take-Away System. The third provides several musical applications of the system, citing my work, Octulus for two pianos, as an example. The appendix details theorems and observations within the system for further study.
ContributorsHarbin, Doug (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
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On the chair of the universe: a Beetle-shaped glass buckles

Description
This composition was commissioned by the Orgelpark to be performed in Amsterdam in September 2011 during Gaudeamus Muziekweek. It will be performed by the vocal group VocaalLab Nederland. It is scored for four vocalists, organ, tanpura, and electronic sound. The work is a culmination of my studies in South Indian…

This composition was commissioned by the Orgelpark to be performed in Amsterdam in September 2011 during Gaudeamus Muziekweek. It will be performed by the vocal group VocaalLab Nederland. It is scored for four vocalists, organ, tanpura, and electronic sound. The work is a culmination of my studies in South Indian Carnatic rhythm, North Indian classical singing, and American minimalism. It is a meditation on the idea that the drone and pulse are micro/macro aspects of the same phenomenon of vibration. Cycles are created on the macroscale through a mathematically defined scale of harmonic/pitch relationships. Cycles are created on the microscale through the subdivision and addition of rhythmic pulses.
ContributorsAdler, Jacob (Composer) / Rockmaker, Jody (Thesis advisor) / Feisst, Sabine (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Arizona State University (Publisher)
Created2011

Prelude no. 2 in A minor, op. 28

ContributorsChopin, Frédéric, 1810-1849 (Composer)

Sonata for cello and piano in G minor, op. 65. III. Largo

ContributorsChopin, Frédéric, 1810-1849 (Composer)

Etude in E major, op. 10 no. 3

ContributorsChopin, Frédéric, 1810-1849 (Composer)

Sonata no. 3 in B minor, op. 58

ContributorsChopin, Frédéric, 1810-1849 (Composer)

Piano sonata no. 3 in B minor, op. 58

ContributorsChopin, Frédéric, 1810-1849 (Composer)

Impromptu no. 3 in G-flat major, op. 51 ; Etude in C-sharp minor, op. 10, no. 4 ; Ballade no. 1 in G minor, op. 23 ; Scherzo no. 1 in B minor, op. 20

ContributorsChopin, Frédéric, 1810-1849 (Composer)

Fantaisie in F minor, op. 49

ContributorsChopin, Frédéric, 1810-1849 (Composer)

Mazurka in C-sharp minor, op. 50, no. 3 ; Nocturne in E major, op. 62, no. 2 ; Ballade in F major, op. 38

ContributorsChopin, Frédéric, 1810-1849 (Composer)