Call for Trans and Non-Binary Individuals

Trigger Warning: Mentions of Transphobia, Mentions of Sexual Abuse (in score), J K Rowling

Call Out for Non-Binary and Trans individuals Voices (volunteer) for PhD Score “Sticks and stones may break our bones, but your words will not divide us”.

Timeline: October 2020 – February 2021

  • No previous experience necessary.
  • Can remain anonymous if desired.
  • Score on request.

I am looking for some fellow Non-Binary and Trans individuals to be a part of my new vocal work for my PhD portfolio “Sticks and stones may break our bones, but your words will not divide us”, a score created in response to J K Rowling’s anti-trans essay.

The score takes Rowling’s anti-trans essay and pulls it through multiple layers of google translate using some of the primary languages from countries which have anti-trans laws or legislations (as of the date of the creation of the score), dice controlled censoring, and improvised performer reactions. All of this is designed to enhance the nonsensical nature of the content of said essay. It is also a representation/reaction to the horror, disgust, frustration, and sadness that people such as myself (the composer) who grew up with Harry Potter feel at learning that Rowling is a TERF.

The result is a score with 3 movements:

(note: this call-out is primarily for volunteers to focus on Movement 1, but should people wish to help with the other two movements, I would be happy to discuss this with you).

Movement 1 requires the reader/performer to read the text as seriously, as dull as possible, with occasional negative emotion.

Movement 2 takes the same text from Movement 1, and further mangles the text by censoring random words. The instructions ask the performer to sing a tone for each black bar that sensors the words, combined with the text being spoken.

Movement 3 is the most literal when it comes to protesting the text and is the most open to musical/performer interpretation. The performer is invited to tear up Rowling’s essay in derision and respond in any way they deem appropriate.

You will receive the score in advanced, so you have a chance to look at the text beforehand and ascertain whether you have the emotional energy available/are comfortable in going forward with the recording.

You will need access to a microphone (headset is fine), and there is no requirement to be videoed (although this is an option).

Time commitment can be anywhere between 1hr and 3hrs+, depending on various factors such as how much text you are reading, or the number of takes, and movements can be recorded over multiple sessions.

Unfortunately, there is no monetary compensation, however full credit will be given (if not asked to remain anonymous), and this score and any recordings made during my PhD will not be used for monetary gain.

If you are interested or would like more information, contact me viaemail me at info@jasonhodgson.com with the subject header “Sticks and Stones”.

PhD Update 1 – Call for Composers

This is an informal request for any and all of my followers and readers:

If you know of any contemporary composers (preferably post 2010s) who use Chance and/or Indeterminacy tools/techniques in their work, please do send me the details at jason@jasonhodgsoncomposer.co.uk

My study brief, as it currently stands, is as follows:

When it comes to the terms chance and indeterminacy in music academia they tend to either be used interchangeably, or they have been identified as separate terms with their own identity and meaning. However, little exists in the ways of determining what the definitions are or could be. Even John Cage, one of the names that comes up constantly in the study of the terms within musical composition did not define what he believed the terms to mean, rather he discussed what they didn’t mean.

Thank you in advanced. There will be more updates on my PhD as I progress.

Review #2 – Automatronic

Automatronic
New Music for Organ and Electronics

Part of the Canterbury Festival, held in the Anselm Chapel at Canterbury Christ Church University on Monday 22nd October 2018.

Lauren Redhead (Organ) & Alistair Zaldua (Violins and Electronics)

I must admit my bias before I move on. I have experienced a few Automatronic concerts in the last few years. There are not many times that I can say that a concert moves, touches, and inspires me, and sparks my imagination; an Automatronics concert is one that I can say this is true. I do not attend one of these concerts to observe, but to experience what I can only describe as intense hallucinations. I can not tell you why this is the case, however I can tell you that for me, and because of (I believe) my being on the Autistic Spectrum (Asperger’s Syndrome), my abstract imagination is not always on par with a Neuro-Typical person, therefore I treasure any moment where the opposite is true.
Thus, I do not present to you a review of the technicalities, the performance, or the compositional process. Instead I offer you a narrative of my experience of this particular concert.

Sophie Stone – Amalgamations (2016)

As I entered the chapel I was bathed in sound. Long, slow, deep sounds surrounded me. As I took a seat I took a glance at the programme and immediately noticed Stone’s invitation for the audience to ‘move around during the performance’. I took the opportunity and meandered around the space, becoming slowly entangled in the paths taken by the organist.

Lauren Redhead – Phosphorescent (2018)

My journey had taken me to the shore, where I, along with fellow audience members, dove underwater. Out of the murkiness I could see a landscape awash with colour and splendour, illuminated, stark against the darkness beyond. A violin pulsated amongst the ocean of organ and electronics.

The sound kept on growing, with the violin becoming more and more intermingled and less its own entity.

Michael Bonaventure – Love Transformed (2017) Premiere

When we reached our destination we were greeted by an alien choir. They adorned us with a fusion of traditional (organ) and other-worldly melody (electronics). As each new moment dawned, they were left yearning for completion, longing to find their companion, until the final moment when the organ joins the voices in harmony.

Huw Morgan – Fault (2018)

All the way through this concert we had been travelling through a place of beauty, and the opening to this next piece was no exception. Birds and insects flittered around, filling the scene with their morning song. The landscape rolled out in front of us. Suddenly something mechanical grates through the once peaceful scene. As soon as it appeared, it was gone, leaving all but the sounds of birds and insects, yet somehow leaving a hole. Gradually, unnatural noises built up all around, overpowering and perverting the scenery. Eventually the happy chirping became determined to outshine the dissonance. But to no avail. What was once a a wonderful open world of harmony, ended with nothing except clanging metallic sounds and static.

Jesse Ronneau – Hagiography (2016) Premiere

From the silence after the final clang of metal into the heart of the land, came a piercing screech. From this screech came melodious overlaying vocals. The piece frantically tried to express its need to present itself as a grand and virtuous masterwork, but something wasn’t quite right. In the chaos, elegance was found. This moment lasted till the end when a train rushed past, which for me symbolised the passing of beauty in our everyday routines.

Overall, this concert invigorated feelings in me, that few performances have. There are many other concerts I have attended in the past that I have enjoyed. This word can never encompass what it is like to attend an Automantronic concert. I have one of their CDs, but it still doesn’t give me that sense of fulfilment that I receive at the end of each moment in time I am removed from the mundane, and transported into other realms.

– Jason Hodgson (1st November 2018)

Photo Credit: Sophie Stone

You can find out more about Automatronic by visiting their website: http://automatronic.co.uk/

Inside the Machine Concert Part 3

What if? The Hansel & Gretel Tale

On the 28th April 2016 I put on a concert which featured a mixture of some of my favourite open-scored, chance-based, and quasi-composed/quasi-improvised pieces to both celebrate and summarise the three years I spent studying my Bachelor of Music at Canterbury Christ Church University.

Unlike the last two pieces I’ve written about, this piece does not revolve around language. Instead What if? The Hansel & Gretel Tale focuses on a different perception to the classic tale. Like all the pieces in this concert, this one was again composed for a task for university. The task: to compose a piece for a group called Splinter Cell, who were mainly a free improvisation ensemble. Therefore, I did not want to be too constrictive in the instructions. I was also at the stage where I wanted to try something new. For once, I wanted to compose a piece that didn’t involve dice (gasp), or numbers. I can’t write coherent plots for toffee so, inspired by a program I was currently watching (Once Upon a Time), I decided to take a well known tale, and put a small twist in it:

What if Hansel and Gretel were exaggerating the tale? What if the ‘Witch’ was really an average old lady minding her business, when her home falls apart because two children took it upon themselves to eat it? Of course she would have been cross; her home had been eaten!!

In discussing this with my then piano teacher Dr Sam Bailey, he went over to his shelf and passed a book: The Uses of Enchantment by Bruno Betteheim (Penguin Books, 1991). In this book I found some amazing quotes about childhood and fairy tales, and how we learn and project our understandings of the world onto stories. These quotes were then put into the score, adding another, unanticipated layer.

As I have mentioned in another blog written for my university, using music to evoke emotions is not something that comes easy to me. Therefore, instead of dictating pitch and harmony, I went for a more generalised instructions. You could almost think of the score as a storyboard one would use to compose the full piece.

For example, as the children engorged themselves on the poor woman’s house they grew fatter, and fatter, and so the score reflected that.

The way I developed the score and the cartoonish descriptors of sounds I wanted the performers to produce, was strongly influenced by love of sound effects in cartoons like Tom & Jerry or Looney Tunes. Their use of audio to add to the visual elements made my tiny child mind boggle with excitement.

I believe it is necessary for us creatives to challenge ourselves every now and then. You don’t have to go running off a cliff, but you can dangle a foot over the edge. For me, using sounds to create an intended story and metaphor is one for me. Hence why I stayed with a well known fairy-tale, instead of something less well known and deeper such as a philosophical stand point (sort of). I had never tried before to create music that reflected a story. Previous pieces were methodical, statistical, experimenting with an idea. This time it was to experiment with how far I could challenge myself. My biggest part of this endeavour was could I create a piece where my sonic intentions and meanings be translated and interpreted by the audience and performers with little deviation? The answer remains a riddle, and I invite you dear listener to tell me whether that is indeed the case, or whether I was wildly wrong and missed it by a mile. Whatever the result, I hope you enjoy the recording.

 

 

I’ve contemplated for a long time whether to share this score with the world, and I’ve decided it would be unfair on you if I made you read all of this without seeing what it was I was talking about. Therefore, here is the score.

The next entry in this series will talk about it takes all sorts. 

– Jason Hodgson (9th October 2018)

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YouTube: https://www.youtube.com/user/JasonMusicallyMe (I’m working on changing this URL, but to do so I need at least 100 subscriber. Which is where you lovely readers can help by pressing the subscribe button).

Masters Project: 6. Circuit-Bending Toys (Part 5)

Notation Experiments for Circuit-Bent Toys

As I move onto my PhD it is high-time that I complete this series. After all, the Master’s Project is now complete.

It became clear in the middle of the project that I had bitten off more than I could chew regarding the installation. There was not enough time to both learn and implement the techniques I had been learning over the last couple of years into a large interactive installation. Therefore it was necessary to pop this concept aside (for now). However, all was not lost: I could still use what I had learnt, but instead have them feed into smaller pieces of work.

Over the year I composed pieces for; Solo Viola, a Concerto, Woodwind and Multimedia, as well as exploring some possible notation that could be used when scoring for Circuit Bent instruments. It is the latter that I will be talking about today.

N0t4t10n 3xp6r1m6nt5 f0r C1rcu1t-B6nt 70y5 (Notation Experiments for Circuit-Bent Toys) was created to work with and against the definitions and contradictions that appear when exploring Circuit-bending. This technique requires little foreknowledge of electronics, nor does it require you to know what it is you desire out of the toy; instead, the hardware hacker need only improvise with the internal circuitry of the toy in the full knowledge that the short circuiting may not work; often this process renders the toy useless. The overriding aim was to create approaches to making sounds that are foreign to the toy company’s original intention.

Prior to the decision to explore notation, I discussed creating scores for circuit bent toys with a number of delegates at the Performing Indeterminacy Conference I attended in the Summer of 2017. The idea was largely dismissed as irrelevant, impossible and doomed to failure.

I am in semi-regular contact with Reed Ghazala, who is closely associated with the invention and promotion of circuit-bending, and upon discussion, Ghazala has encouraged me to write these scores and invited me to share the results with him.

For Ghazala the toy is a living instrument whose inner nature and potentiality can be discovered (Ghazala, 2018). The score that I was intending to create, therefore had to explore concepts of  finding a balance between over- and under-notation. This process involved my having to
move beyond the notion of scoring sonically precise results.

I am not the first to explore possible notation for Circuit Bent Toys. Two scores already existed prior to my own exploration; Strutz by Jesper Pedersen (2011) and the Untitled for violin, circuit bent toy, and electronics by Nicholas Knouf (2008). Both of these use open score notation and encourage audience participation during performance, respectively. The notation I used employs my understanding of action notation, which is a notation that does not specify a sonic result since the nature of circuit-bent toys is that they rarely behave in a predictable way.

The structural concept of my score is borrowed from Stockhausen’s Momente für Sopran, 4 Chorguppen und 13 Instrumentalisten (1961/62). Stockhausen used moment form to create a certain type of drama. The moments of silence in N0t4t10n 3xp6r1m6nt5 f0r C1rcu1t-B6nt 70y5 became a compositional tool in their own right; while it was a practical solution to allow the performers time to regroup between moments, the silence determined the structure of the piece. For example, these silences may be heard as a build-up of dramatic tension between each moment. The order of the moments is chosen by the performer, the only proviso being that a sound instruction must be followed by a silent instruction. These moments are represented either graphically or textually; only rhythm, where it appears, is notated traditionally. The elements of play are in the toys, or instruments, themselves, while the exact order of the moments is left to chance. The fact that the circuit-bent toys rarely make the same noise twice, nor can the sound be predetermined provides the element of indeterminacy. In conversation with Johnathan Cott (Stockhausen: Conversations with the Composer London: Robson Books Ltd, 1974), Stockhausen raises the idea of building your own instrument if the existing ones do not do what you want them to. In practice, circuit-bent toys are not so much built as partially destroyed in the discovery of sounds.

I was lucky enough to have these scores workshopped by a local improvisation group called Athelstan Sound. They are a mixture of various types of artists, and most of the performers had little to no traditional score reading skills,
and therefore had few pre-conceptions about what a score should look like. As a consequence, the rhythmic moments were challenging and were not successfully executed. The members did not make any suggestions for how to improve this notation, but they did express a preference for avoiding musical notation. As a result, further consideration as to the rhythmic aspects of this score is needed.

– Jason Hodgson (17th August 2018)

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Twitter: https://twitter.com/JasonHComposer
Soundcloud: https://soundcloud.com/jason-hodgson
YouTube: https://www.youtube.com/user/JasonMusicallyMe (I’m working on changing this URL, but to do so I need at least 100 subscriber. Which is where you lovely readers can help by pressing the subscribe button).

Masters Project: 5.2. Circuit-Bending Toys (Part 4 and a 1/2)

Circuit-Bending Toys UPDATE

This is a quick update to the Masters Project Series, which will now continue into my PhD as a reflection on what has happened in the first part of my postgraduate studies.

However this is not truly a new post, but a notification that the documentary I had to create for my Creative Project, is now available to watch on YouTube (see below). This video also contains the concert in which the toys were first demonstrated.

 

Featuring the Scratch Orchestra of Canterbury Christ Christ Church University’s School of Music and Performing Arts.

Scratch Orchestra Director: Sam Bailey
Musicians Featured: Natalie Perdu, Abbie Isabelle, Carl Emery

Filming and Editing: Nathanial Beddall

Poems by Natalie Perdu

[embedyt] https://www.youtube.com/watch?v=LIPAaTqzf6k[/embedyt]

– Jason Hodgson (10th August 2018)

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Twitter: https://twitter.com/JasonHComposer
Soundcloud: https://soundcloud.com/jason-hodgson
YouTube: https://www.youtube.com/user/JasonMusicallyMe (I’m working on changing this URL, but to do so I need at least 100 subscriber. Which is where you lovely readers can help by pressing the subscribe button).

Happy New Year (2018)

I’d thought I’d start this year off with a post about what fantastic things have happened in 2017, and what awaits me in 2018.

2017

We can all agree that 2017 was a turbulent year. However, with that being said, there a few things that are positive about the year:

January saw the start of my blog as I started to focus on my main project for my Masters. A lot has changed in regards to the project. Whilst I will still be utilising various electronic and aleatoric means of composition and performance (the latter being a constant in my career), the installation plan had to sadly be bottom-drawed for another time. It was to ambitious for the time, skill, and tools available to me at this moment in time. Nevertheless I have learnt a great deal of new skills, or at least started to…

Having this blog also allowed to evaluate past work I have done to both document and guide my progress. And although I am unable to do weekly or monthly posts as my career guides me down a busy path, I will endeavour to keep posting as often as I can in the coming year.

In February my Circuit Bending adventure also began. I learn skills I would never dream I would ever learn, whilst learning more about the concept of Noise music and Collage/Bricollage music. During this time I killed a fair few toys, and my first success, which promptly died when I attempted to add an audio-jack to it. It also gave me the chance to run a few workshops, something that I have never had a chance to do before. I’m not going to lie, I was nervous. However, it was an invigorating experience. It also prompted me to create my first electronic track!

April 24th saw the premiere of my first commissioned piece ‘LionHeart1189′ by the wonderful Chris Brannick and Sara Stowe in the Hay-on-Wye Festival. A truly enlightening experience. I’m truly appreciative of my grandmother who drove the 10 hour (gasp) round trip in order for me to be able to see it.

In July I attended my first conference in Leeds with the CageConcert. A truly knackering but marvellous time! I’ve learnt so much, recorded more, and hopefully the links and contacts I have made will bare fruit throughout my studies and career.

July also saw the start of the process towards creating and devising the Adventurers & Artists Concert Series. For want of jinxing it, I have a fabulous team who I can only say have worked their tails off, (and it’s about to get busier).

The end of July/beginning of August saw this website become LIVE! It wasn’t until at this point, when I could see all the views, that I knew I had such a large audience. I am truly grateful. Thank you.

On October 24th I stripped down into a lion onesie while presenting at my first Research Seminar at Canterbury Christ Church University’s Work in Progress Talks. As odd as this sounds, it was all part of my demonstration of my compositional technique of ‘play’ and asking yourself ‘What happens if?”.

In the beginning of November I had my first paper I’ve ever submitted accepted at the BFE/RMA 2018 Student Conference in Huddersfield. I am still gawping at the fact that I have be accepted, and can not wait to present it!

In December I had a few of my pieces performed at the Free Range Concert Series Holiday Special. I’m looking forward to hearing the results.

 

2018

2017 was full of academic and career firsts. I can’t say much about 2018 as it has yet to happen (well to us linear time-line experiencing folks anyway). All I can tell you is what I have planned for upcoming year:

On 4th – 6th of January I will be attending the BFE/RMA 2018 Student Conference in Huddersfield where I will be presenting a paper titled ‘Neuro-Diversity as a Compositional Tool’.

A few days after that I will be presenting my Analysis Presentation for my module. Whilst not a significant event beyond gain marks for my Masters Degree, I have managed to base it around my favourite topic: Doctor Who! I will be looking at the development of the 11th Doctors theme ‘I Am the Doctor’ during the Series 4 Specials to Series 5. I also aim to contextualise this development both within the context of the shows plot, and the changes in the shows cast and crew.

April – May will also see all the hard work of the Adventurers & Artists team pay off. We will be beginning rehearsals soon, and I am intrigued to see where it will take us musically.

This is very much a year that I want to keep an eye on….

– Jason Hodgson (1st January 2018)

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You can find me on:

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Twitter: https://twitter.com/JasonHComposer
Soundcloud: https://soundcloud.com/jason-hodgson
YouTube: https://www.youtube.com/user/JasonMusicallyMe (I’m working on changing this URL, but to do so I need at least 100 subscriber. Which is where you lovely readers can help by pressing the subscribe button).

Experiments and Explorations Part 2

Below is a link to the second entry in a series of blogs titled ‘Experiments and Explorations’ that I write for Canterbury Christ Church University School of Music and Performing Arts:

When I last posted a few months ago, I provided you with more of a general overview of how I compose, and why. In this entry however, I am going to be looking at one of my earlier experiments in more depth.

Today the focus is on the first piece I composed while studying at my Bachelor of Music, Chaotic Control (or C.C.for short). Though I was unaware of it at the time, this piece would be the spark to my exploration of using chance and indeterminacy as compositional tools. … CLICK HERE TO READ MORE …

Inside the Machine Concert Part 2

A Throne of Games

On the 28th April 2016 I put on a concert which featured a mixture of some of my favourite open-scored, chance-based, and quasi-composed/quasi-improvised pieces to both celebrate and summarise the three years I spent studying my Bachelor of Music at Canterbury Christ Church University.

The second entry in this series focuses on an award winning piece A Throne of Games. In two parts, this spoken-word sound-poem explores the fickle nature of language (not unlike that of Language is a Fictitious Fact). However, instead of allowing the performers to create their own content, I meticulously selected the sounds and words I would use in both of the forms.

If you are a fan of the show, or even the books, you might have already guessed that this piece is inspired by the book series A Song of Ice and Fire by George R R Martin, which spawned the HBO television series, A Game of Thrones. In fact, this piece takes text selected directly from the first book in the series of the same name. However, it is only in the second form, and if you are already aware of the series that this becomes apparent.

I am always the first one to admit that the written word is not my forte, in particular the ability to manipulate the written language to my whims. So, I needed a way that could counteract this. The answer was simple:

At this point in my studies, I had only recently discovered my love for using sequences and aleatory (chance) to generate material for a composition, but I was bored with applying it purely to the sound elements of music. Applying it to the text elements of a piece would open up more opportunities. After much consideration of other sequences such as Pi, e, and Fibonacci, I concluded that  Prime Numbers would prove more useful. This provided a gradual, steady rise in the digits (like page numbers), but was random enough to the naked eye, and (even to a point in mathematics), to avoid predictability. Though there was no  fear of predictability from an audience perspective as I had no desire to use it to determine pitch.

Certainly for me, even before I had discovered the world of experimental music, music is not all about sound. For example, in choral pieces the text can be just as important as the musical aspect. In Operas the staging, costume, props, backdrops, acting etc. are just as important to fully portray what the music is trying to say or do, or even a particular interpretation of the music. To an audience how the piece is performed and the other visual aspects are just as important. The latter was something I was already thinking about, but I wouldn’t start exploring this element specifically until my final year. For this project I wanted to solve the problem of how I could select text.

Another element I wanted to eliminate was any implied, implicit, or inherent emotive aspects within the final text.

Being on the autistic spectrum (Asperger’s Syndrome), this is yet another hurdle to overcome. Thankfully, my compositions tend to eliminate any inherent emotive notions, and instead explore the wacky, weird, and wonderfully unique take I have on life and the sound world.

This does not mean that I believe emotions are not important. Nor does it mean that I think that they don’t have a place within the Arts. Quite the contrary. Instead I believe that, for the majority of occasions,  the emotional aspects of a piece should be open to interpretation for either the audience, or the performers to decide or discover on their own. I feel that any prescribed notion of emotive elements on my behalf would be counter-productive. I have discussed this in a little more detail on the Canterbury Christchurch School of Music and Performing Arts blog.

At this stage I now have a sequence, but no method or source material.

Source material was relatively straight forward: Books! It had to be a large one meaning that I could gather enough material from it. At the time I had just started reading the second book of George R R Martin’s series (A Clash of Kings), which is pretty large. However, I didn’t want to spoil the plot for myself. Ton the other hand I had finished the first book, and it was just as big.

Now I have a sequence, source material, but no method.

The method had to be random enough that the text would produce nonsense, but use little enough of the book that I couldn’t fall under copyright infringement. Ultimately, much less than even 1% of the book was used. However, even at this point I’m still not certain whether I breach any copyright laws. This is why whenever I talk about the piece I make no attempt to hide the source material, and why the rest of the pieces in the larger series A Work of Fiction (which remains to be seen at this moment in time), will be shared free of charge. In short, the processes I used are available for others to use, the end result (the composition) is mine but free to the public to use, and the source material remains with George R R Martin.

Eventually I decided to use the page numbers as a key, and only select text from the Prime numbered pages. I then chose to use the corresponding words to that of the number of the place of the prime number in the sequence.

I promise you that is the best way I could think of to describe it in words. I have racked my brain for a few years now trying to figure out a way to coherently represent what my methodology was in words. Like I said, language is a fickle thing.

Let me try with numbers:

In a sequence that ascends through all the primes available to me by the number of pages in the book, 2 is the 1st Prime. Therefore I went to page 2, and selected word 1. This produced the word ‘had’. Page 3 is the 2nd prime. This produced the word ‘reflected’. Then again with page 5 and word 3, ‘did’. Therefore by using this method I had generated the words; ‘had’, ‘reflected’, and ‘did’.  By doing this I had removed the context from the words. This process went on until I reached the last prime numbered page in the book.

Along the way I discovered that if I read them in a row, my brain tricked me into thinking that there was meaning in the phrase, even when I knew there wasn’t one. Try it: ‘had reflected did rustle’. (What exactly did this ‘rustle’ reflect??)

I now had my material to work with, and although I chose to leave them in the order they appeared, I decided that I wanted to play with this fake meaning. One of my Grandmothers then introduced me to the idea of trying to use Shakespeare’s famous iambic pentameter. Unfortunately, I was unable to fit the words perfectly within the meter. Therefore, it became more of a guide.

To further play with the fake meanings within the text,  I read it out loud so I could feel where I needed to separate lines to trick the listener into finding  meaning where there was none.

Before I move onto the next step I want to point something out: I had no idea, no outline, nor a plan of what my end result was going to be. Instead I found a problem, looked for ways around it, and saw where it took me. Though there was a lot of work involved throughout each step, I let the results of each step guide me to the next.

I am a big advocate of using play as a compositional tool. Even if I know what the end piece needs to be (for a commission as an example), I believe that if you attempt to force the piece, you can overcompensate, overthink, and where once you could create something wonderful, you instead create something ‘because you had to’. This in turn can lead to a half-hearted composition which you cannot enjoy. You should never not enjoy your compositions. That’s not to say that the process can’t be tedious (like when I have to throw my dice hundreds of times), but I make an active attempt to write pieces of which I enjoy at least one element.  Of course this is not 100% successful. Nevertheless, it is something I strive for.

One way I do this is by playing with ideas, letting them tell me what they want to do. And if they don’t fit the purpose, no problem! Just put them away for another day. You’ll thank yourself later when you really are stuck for ideas.

My problem now was that it was a great nonsense poem, but I didn’t feel that it was musical enough. The question now was how could I make it musical without writing a tune? Whilst I could have created a melody for the text, this would have defeated the purpose of the piece, as this composition was for my technical portfolio in my second year of study, meaning that I had to follow some guidelines and link the piece to a technique outside of my own, which is a common practice when studying composition. I am honest, this is quite difficult for me as at this time in my practice I tended not to research specific methods and techniques before I began a composition. I tend to work more on my gut-instinct. Researching for a piece is something I am learning how to do more and more as I get further into my studies, though it is still a weak area for me.

As it so happened, there was an area of composition that we had learned about, that, on closer inspection, was akin to what I was doing more or less by gut-instinct: Oulipo.

In short, without going into too much detail, Oulipo is style of poetry pioneered by Raymond Queneau and François Le Lyonnais in 1960, which uses mathematics to generate text. Sound familiar? You can read more about Oulipo in a journal article The beginning of Oulipo? An attempt to rediscover a movement by James Kurt in 2015, which unfortunately for my work, came out after my piece was submitted.

Fascinating as this was, this still didn’t solve my problem. It wasn’t until my personal tutor at the time, Lauren Redhead, asked me to consider the possibility of extending the sounds, and adding dynamics, to make it more of a score, rather than just a poem, that the solution was apparent.

I vaguely remember a lecture in which Redhead  introduced the class to a piece by Alistair Zaldua called Solo Speaking. I was struck by how he could differentiate between ‘e’, ‘ee’, ‘eh’ and other more complex variations. The score itself, on the other hand, whilst written clearly, was not quite in the format I wished to use. Zaldua had created symbols with a list of instructions for each individual sound that needed to be produced. My aim, on the other hand, was to compose a score for someone of no to little experience at performing pieces such as A Throne of Games, was able to pick up, and to have ‘a stab at it’. I wanted to lay out the score in such a way as to not scare away the uninitiated (i.e. me a couple of years prior). Unfortunately I can’t find a clip online.

I spent the next few days playing around with how each individual word could be changed. Picked my favourites, and tried to think of the best to present them. The results of this can be seen in the score in Form 2, and the instructions. Along the way I discover one process of the words that I wanted to exaggerate further. I had experimented with removing the vowels from words, and found that it produce a loose vocalised rhythm. I separated some of the consonants, keeping them within the original sentence/paragraph layout. Some of the extended sounds in Form 2 were also used. My favourite of which is the one on ‘K’ where the performer is to extend the sound, elongating it, which in turn creates something similar to white noise. I also spaced out some of consonants, further variating the rhythm.

The reason I chose to use the rhythm form as Form 1, is simply because I wished to leave an element of mystery around the text. Form 2 then reveals the words, but not the meaning.

One of the elements I spent a while on was to play with the spacing, and in turn; pacing. In the instructions I explained that “a semicolon ( ; ) is a shorter gap than a full stop ( . ), but longer than a comma ( , ). Spaces are also gaps, yet vary in length.”

I have already selected my material for the next piece in the collection. Interestingly, if you apply the process to a Mills & Boons book, or at least the one I purchased from a  local charity shop, the text reads as if it were a basic car manual, whereas Artemis Fowl, comes out a bit more like a Mills & Boons. I can’t wait to see what the sound world will be for these materials.

I have been fortunate enough to have A Throne of Games performed multiple times. Unfortunately the performance during the competition is lost. The first time it was performed was when I was a member of the Canterbury Christchurch Contemporary Ensemble. The second was a Solo that I recorded using the university facilities, and the latest (as of August 2017) is a performance my Grandmother Jane CoomberSewell, (the same that mentioned iambic pentameter), and another Award Winning Composer (same festival, but in 2016) Hannah Firmin performed during the Inside the Machine Concert. Below is that playlist.

The next entry in this series will focus on What If? A Hansel & Gretel Tale.

– Jason Hodgson (5th August 2017)

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Experiments and Explorations Part 1

Below is a link to the first in a series of blogs titled ‘Experiments and Explorations’ that I write for Canterbury Christ Church University School of Music and Performing Arts:

The proper thing to do, I suppose, is for me to introduce myself. My name is Jason Hodgson. I’m an experimental composer currently studying Master of Music (MMus) at Canterbury Christ Church University within the School of Music and Performing Arts, with a current focus on Aleatoric and Indeterminate Composition. I’ve been given the wonderful opportunity to write a blog from my viewpoint as a Composer within the School, and as a person who composes. The entries on this blog will be mostly surface level, and could be considered … CLICK HERE TO READ MORE …