3D-Composer : a software for micro-composition

nential ascent of original material produced by such labels is driven by the natural tendency toward competition and collective valorisation. However, local infrastructures must be available for this to happen effectively. During an epoch where diversity is truly blurred with uniformity, distinct elements and cultural symbols may easily fade through the use of technology. Conversely, the capacity to store and reorganise information can also enhance the value and significance of the musical intention. Perhaps examining the inherent mechanisms of composing electronic music in contrasting circum- stances and contexts would emphasise the universal characteristics of creativity in the larger sphere of musical development in its natural tendency toward perpetuation. 2. CREATIVE PROCESS Let us take a closer look at some algorithmic and electronic music works found in Ukraine. 2.1. Algorithmic composition Leonid Hrabovsky2 composed Concerto Misterioso (flute, clarinet, bassoon, antique cymbals, harpsichord, harp, violin, viola and cello) in 1977 (see Audio Track List). This piece illustrates the composer’s versatile approach to algorithmic composition using indepen- dent combinatory systems to generate rhythmic and melodic motifs – mikromotyvy. Almost all the musical material originated from folkloric and ethnographic sources. In the pre-compositional phase, Hrabovsky used a collection of folkloric songs and recordings from 1965, mainly interpretations by E. Zuikhy recorded by H. Tancury. This rare song collection was unique in its authentic flavour of vocal interpretations, and the repertoire exhibited a large array of vocal mannerisms found in rural areas. This gave forth to the systematic categorisation of melodic and rhythmic patterns con- strued within different folkloric genres (see Figure 1). The idea of the composition relies on a system linking smaller portions of transcribed melodic cells or mikro- motyvy, used in the configuration of larger architectonic structures. Pitch and rhythm would be linked by the algorithm and in the building blocks of the form- structure. By algorithmically treating the embedded melodic cells, the composer would generate new pitch material. The same would apply to rhythmic patterns derived from the categorised and subdivided ethno- graphic recordings (see Figure 2). This resulted in a vast collection of transcribed figures, and was a good indicator that folkloric source material embodied a rich informational complex useful for the creation of substantial (algorithmic) composi- tions. Here, some examples of rhythmic series based on the combination of numeric proportions derived from segments of authentic material are presented (see Figure 3). Organised Sound jos118731.3d 4/5/07 09:25:22 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) 2Leonid Hrabovsky was born in 1935 in Kyiv. He studied economics at the Kyiv University (1951–1956) and concurrently took piano and theory lessons. He then entered the Tchaikovsky Conservatorium in Kyiv to study composition with Lev Revutsky (1954–1956) and Boris Lyatoshynsky (1956–1962). Hrabovsky obtained a graduate diploma in 1962 and taught at the Conservatorium from 1966 to 1969. Later, he became associated with a group called the ‘Kyiv Music Avant-garde’ where a circle of Ukrainian composers got together to study works by Stravinsky, Bartok, the composers of the second Viennese school, as well as works by Vare`se, Cage, Xenakis and Berio. He then moved to Moscow where he became editor of the journal Sovetskaya Muzyka for some years until he left for the United States in 1989. He now resides in New York where he holds a position as composer-in- residence at the Ukrainian Institute of America. His works include instrumental, symphonic, choral, theatre and film music. Figure 1. Transcription from ethnographic recordings. 156 Alla Zagaykevych and Ivan Zavada Not only does the algorithmic system bridge the melodic and rhythmic elements together with the structure, but it also determines the timbral qualities of the sections generating the form, based on the universal concept of a functional foreground–back- ground interplay, where the melodic lines become the foreground and the accompanying polyphonic har- mony, the background. Hrabovsky used five types of backgrounds emanating sonorous textures, which do not suggest defined motifs, but create a link between the various algorithms and the melodic interventions in the foreground (see Figure 4). All the sections of the Concerto Misterioso (from shortest to longest, 4–89 measures) are linked by a common timbral idea. Every section has its own instrumentation associated with a numerical system based on number series (including Fibonacci series). The ‘tectonic’ structure of the work delineates the different sections characterised by the instrumentation used (see Figure 5). The structural arrangements expose a three-part canon varying polyphonically over the background. As a result, we obtain thirty timbral variations. The original score by Hrabovsky indicates all the sections with double markings symbolising the transition from one texture to the other making up the background. The originality of the algorithmic system used in Concerto Misterioso lies in the combination of a constructive approach to form, with the composer’s subtle intuition with regard to the use of ethnic/folkloric source materials, and the integration of ancient poly- phonic forms in a contemporary context. This unified approach toward different stylistic media is regarded as a major influence for many composers of the younger generation (1990 until present) in their methods and attitudes toward composition in general (Luniov, Pertsov, Voitenko). 2.2. Musique concre`te in Ukraine The appearance of musique concre`te in Ukraine launched the development of electronic music in this region. Then, composers only had access to recording facilities and sound editing equipment through the flourishing film industry, which made it possible to modify sound sources and create diverse sound effects and montages. A well-known initiator of musique concre`te in Ukraine was Vitaly Godziatsky. From 1956 to 1961, Godziatsky studied composition and orchestration with Boris Lyatoshynsky (1895–1968) at the Tchaikovsky Conservatorium of Music in Kyiv. During his studies at the Conservatorium, Organised Sound jos118731.3d 4/5/07 09:25:24 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) Figure 2. Rhythmic series based on authentic material. Figure 3. Derived series from categorised patterns. Development of electronic music in Ukraine 157 Godziatsky spent his time studying new directions and compositional techniques which came from Western Europe (serial composition, sound synthesis, musique concre`te). His music was soon performed in the West (Autograph and Rupture). The music of Godziatsky and other composers of the Soviet avant- garde have generated considerable interest from abroad, while at the same time they were ironically considered dissidents in the USSR for their non- conformist views. The original idea of objet sonorewas openly accepted in the socio-cultural climate of Ukraine of that time. Somehow idealised and interpreted as a liberation of sound in the sense of Vare`se (liberation du son), this concept of objet sonore coincided with the ideas of Ukrainian-Russian Futurists of the 1920s. These include Davyd Burluk (painting, litterature), Artur Lurje (music) and Mykhail Semenko (poetry). The first concre`te piece by Godziatsky is considered to be 4 Scherzi Domestiki: Poltergeist amusing oneself, Emancipated suitcase, Realization, Anti-World in a box (seeAudio Track List). It was first available on tape and was simply named Four studies for tape recorder. Later the composer created a score, which allowed thework to be performed in concerts. The sounds are taken from objects found in everyday life, such as domestic appliances and kitchen utensils (cups, pots, sieve, grater, spoons, glassware, metallic pans, bowls, plastic contain- ers) with the mechanical sounds of the piano (strings, resonating soundboard, hammers, pedals) and percus- sionmallets. All these sounding objects were used by the composer with the purpose of obtaining a colourful blend of clashing textures, extracting the timbral and pitch qualities of these materials. The surprisingly lively sound of kitchen utensils and domestic appliances came in extraordinary contrast with the conformist choral Organised Sound jos118731.3d 4/5/07 09:25:31 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) Figure 4. Musical textures for creating the background. 158 Alla Zagaykevych and Ivan Zavada and symphonic works in the Soviet spirit – For Honour and for Glory (see Figure 6). Whilst the composition did not display elements of montage typically found in musique concre`te, which allowed the composer to separate the phenomenological value of the sound from its origin, the unconventional sound orchestration had a splendid and disproportion- ate effect of discordance. The work contained about three groups of sonic textures composed of individual unified timbral elements organised sequentially, thus creating a succession of varying timbre shapes (klang- farbenmelodie). The structural syntax of the timbral elements consisted of irregular rhythmic figures (smaller portions of micro-motifs made of 2–3 sounds) broken up by pauses or lines of tremolo-like textures combined with dynamic envelopes (see Audio Track List). In 1968, while working on the music for a cartoon series called The Career, Godziatsky created a musique concre`te piece in the real sense. He applied a montage technique on pre-recorded sounds of different textures. The following sounds were used: vibration of a saw after striking it, the sound of a plastic ashtray, wooden board, suitcase, rubber tyre, prepared piano, vibraphone, human screen, crowd noise, water falling in a metal bowl and excerpts of a tutti orchestra. The sounds were then manipulated with the following methods: use of several reel-to-reel tape machines at different recording and playback speeds (constant), gradual speeding or slowing down of the playback reels, reverse playback of the tapes. Such techniques widened the possibilities of working with predominantly non-instrumental sound sources such as noise and sound objects, and revealed subtle intonation changes not possible otherwise. However, these preoccupations remained embedded in a more traditional framework when concerned with intonation, pitch and rhythmic elements. During the editing and montage of the sounds, the composer also paid particular attention to building a flexible musical syntax based on the modulation of similar timbral structures, or different timbres combined and modified by the same dynamically evolving shapes within the structure itself (see Figure 7 and also excerpt from The Career in Audio Track List). 2.3. Integrating electronic sound synthesis in mixed music There was a gradually increasing interest in sound synthesis techniques during the late 1970s and 1980s in Organised Sound jos118731.3d 4/5/07 09:25:42 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) Figure 5. Example of a section defining the tectonic structure. Figure 6. Excerpt from the graphic score of Realization by V. Godziatsky. Development of electronic music in Ukraine 159 relation to the omnipresence of commercial synthesizers in young musicians’ circles in Ukraine; the artistic potential of such hardware devices was yet to be explored. The use of electronic sound synthesis in musical works was well adapted in Ihor Steciuk’s compositions. Born in 1958, Steciuk graduated from the Tchaikovsky Conservatorium of Music in Kyiv in 1987. He writes symphonic, chamber, jazz and popular music, and has created more than twenty film and television soundtracks for European, American and Ukrainian productions. The aesthetic foundations of his work rely on the combination of contrasting and even totally opposingmusical elements and styles: symphonic genre with respect to harmony and polyphony, jazz collectives, ancient Ukrainian folklore and modern electronic instruments. Like his contemporaries in the 1970s, Steciuk was fond of electronic resonances, particularly after hearing originally arranged pieces such as Isao Tomita’s electronic version of Mussorgsky’s Pictures at an Exhibition, which uncov- ered a new palette of sounds and more importantly, the creative possibilities generated by such instruments. Understanding the potential of what was achievable with new technology was strengthened by the music of Wendy Carlos, Keith Emerson’s incorporation of modular synthesizers in popular music, and the futuristic soundtracks by Edward Artemiev. It is worth mentioning that this cocktail of synthesised music was only available sporadically during an epoch when information access was very limited, and at times even difficult to obtain. Musicians were particularly eager to discover anything that fell outside conservative views. Steciuk had encountered FM synthesis with the polyphonic versatility of the Yamaha DX7 synthesizer. A new vocabulary describing synthesis techniques needed to be deciphered and applied to a cycle of compositions created in the spirit of his predecessors. The young composer devoted much time to re-create world repertoire classics and explore new timbres and textures generated electronically. The problem arose in terms of spontaneity and fluidity of expression when using solely pre-determined synthesis interfaces and functional algorithms to generate sound. A comparable system to acoustic instruments in its performance accuracy was desired. This is why, later in the early 1990s, Steciuk turned toward other means of sound generation such as the Yamaha VL1 and the Korg OASYS PCI based on Virtual Acoustic Synthesis, or more precisely, physical modelling techniques imple- mented by hardware and software devices. Here, the possibilities extended beyond the colouristic approach of modifying timbre, and allowed a better control of all synthesis parameters involved in the production of sound (see Audio Track List). The introduction of sophisticated sampling techni- ques provided a new quality in the rendering of acoustic instruments, and also introduced a new functionality: the ability of reproducing pseudo-traditional intona- tion, originating from unexpected and usually non- tempered sampling material, sometimes complex and other times relating to noise. The miniature entitled Urbo (1994) demonstrates the use of sampling in parallel with FM Synthesis. It underlines the urbanisation process and a syntax yielded by non-pitched or non- rhythmic material; in essence, a new functional organi- sation of form, based on noise structures. Sound synthesis, as a systematic form of improvisa- tion, was adopted by Kyiv based musician Oleksandr Organised Sound jos118731.3d 4/5/07 09:25:53 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) Figure 7. Excerpt from the graphic score of The Career by V. Godziatsky. 160 Alla Zagaykevych and Ivan Zavada Nesterov (1954–2005). He studied electronic means of producing music with signal processing techniques applied solely to a bass guitar, and created an album entitled Mirror in 1989. The principal aim of this exploration was to utilise electronic signal processing to optimally modify the sound of the bass guitar, in its extreme dynamic range and timbral possibilities. He used a flexible technique to affect all stages of the dynamic envelope (attack, decay, sustain, release). Often the resulting sounds were reminiscent of vocal qualities, which allowed him to seamlessly integrate his electronic processes with wind instrument ensembles. The album Claustrophobia (1991) exposed the achiev- ability of applying MIDI control to sound synthesis, thus adding a dynamic aspect to music created by non- acoustic instruments. For example, Nesterov used the multi-channel capabilities to produce poly-timbral textures with various techniques of sound generation, such as in the bass solo of Coloured Fluography (see Audio Track List). An intense interweaving of sound manipulation techniques was accomplished in the recording Contaminated Sound (1998), in dedication to the Chernobyl nuclear disaster in 1986. This electroacoustic project combined fifteen traditional songs and several recordings of instrumental music taken near or within the remaining villages of the Chernobyl zone of exclusion, and performed by traditional voice ensemble Drevo. Indeed, themost important aspect of the creative process was the rich quality of authentic voices and varying overtones, which became the sonic model for the accompanying electronic instrumen-tarium (MIDI guitar, synthesizers, samplers, electronic percus- sion). In general, we can distinguish two types of electronic music projects integrating authentic genres in recent decades. The first type is the structured integration of electronic and authentic sounds, where complex electro- nic sounds usually created from samples or synthesised sounds (generated from FM synthesis, for example) are directly correlated to the authentic material, either live or sampled. The resulting texture created resembles a strange rural–urban blend, a sort of heterophonic tutti which is hard to grasp in its eclectic anachronism. The second type is perhaps a sonically disintegrated form of electroacoustic exploration, where the segmen- ted and transformed authentic material generally results in a repetitive rhythmic background to which layers are added, sometimes non-periodic lines of a lead variation with unexpected punctuations, but not necessarily tightly related to the original form. Layers of variable periodicity inherent to the structures of authentic voices or instruments may generate macro-rhythms and if syncopated by the variance ofmultiple layering, create a general sense of timelessness, such as in ambientmusic or world music. 2.4. Electroacoustic music The first electroacoustic compositions of young com- poser Maksym Abakumov (b. 1976) are based on the aesthetic and technological fundaments of musique concre`te and sampling synthesis (Quintet in 1992 and Quartet in 2001). In the first composition, brass sounds, small cymbals, guitar strings and two voices are mixed onto tape, and identical copies of the same recording are used for playback on several magnetophones. The main idea lies in the gradual widening of space, caused by a progressive de-phasing of all the tracks leading to the final de-synchronisation of all the pre-recorded mate- rial. The latter piece Quartet stands on small fragments of instrument samples (piano, guitar, bass, and elevator) and their variations. This programmatic composition resides in the juxtaposition of various elevator noises with the sounds of acoustic instruments. The emphasis, however, remains with the noisy aspects of the elevator. Electroacoustic works by Alla Zagaykevich coincide with the idea of attaching transcendental meaning to spectral qualities of sound, extended by the metaphoric representation of the playing techniques of instrumental parts of the works applied to timbre. Usually, mixed electroacoustic compositions make use of sampling synthesis, with its accompanying signal processing techniques such as filtering, cross-synthesis and granu- lation. FM synthesis acts as a counterpoint to the generation of various noise-type sounds by chance algorithms. Pagode for recorders, tape and live electronics, is a characteristic example of the timbral integration of electronic and instrumental parts. The pitch structure and playing techniques of the recorder parts aremore or less traditional. The key aspect is hidden in the already rich textures produced by the entwining of the three recorder parts. The spectral qualities of the instruments vary with the natural built-in inflections produced by the sound of recorders. This builds up with the complexity of the dialogue between the three parts, by use of 2 to 7-tuplets with differently accentuated notes and pauses generating a certain thematic texture (see Figure 8). Another aspect is the addition of registers creating the impression of several independent voices. Acoustic properties of the instruments are accentuated during the solo part, and natural noises of the recorder arise when amplified through a microphone. This represents the double quality of the instrument, as its musical and noise components emerge simultaneously. The electro- acoustic and instrumental aspects of Pagode are texturally binded by melodic interplay. Samples of recorder sounds are modified using cross-synthesis techniques with small metallic and percussive sounds. Live electronic effects are also used during a perfor- mance, such as reverberation, harmonizer, flanger, distortion, delay and filtering, acting as a binding force Organised Sound jos118731.3d 4/5/07 09:25:59 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) Development of electronic music in Ukraine 161 in the integration of acoustic and electronic instruments (Rakunova 2005). 3. THEORETICAL PROCESS IN THE FIELD OF ELECTRONIC MUSIC AND MUSIC INFORMATICS Academic reflection in the realm of electronicmusic and music informatics evolved rather independently from the generic attitude towards creative processes and the practical implementation of compositional techniques. This specifically concerns theoretical considerations about Ukrainian electronic music and algorithmic composition, which unfortunately only reached the milieu of musicological experts in the early 1990s. However, the theoretical questions concerning music informatics, musical acoustics, statistical researchmeth- ods applied to music, and computer modelling of creative processes, were never a forbidden topic for music experts and academics.Moreover, the Institute of Cybernetics of the National Academy of Science in Ukraine was established in 1962 in Kyiv under the direction of V. Glushkov, founder of information technology in the former USSR. He was most influential in the topics of global computerisation of society and artificial intelligence embedded in computer technologies and networking systems. Alongside active research in information technology during the 1970s, several branches relating to informa- tion theory were starting to develop a formal approach toward musical analysis methods, quantification of musical style and the processes of musical creativity through mathematical modelling. Concurrent develop- ments in the field of acoustics were used to investigate new ways to analyse music, based on the harmonic and spectral contents of a musical score performance. The mid-1990s finally brought a restrained circle of music experts to study contemporary usage of computer technologies applied to composition. At last, there seemed to be some sort of consensus on which direction analysis of electronic music might take in the future, depending on the elaboration of adequate analytical terminology. The following sections will elucidate some aspects relative to theoretical processes. 3.1. Application of information theory to musical analysis The 1960–1970s opened a new awareness to earlier studies on the properties of information, communica- tion and organisation systems, mainly the General Systems Theory (L. V. Bertalanffy), Information Theory (C. E. Shannon) and Cybernetics (R. Ashby, N. Wiener). These theories added a multi-disciplinary angle to the study of music and revitalised attitudes toward musical thinking in academia. Notably, the publication of Cybernetics and Music by R. Zarypov (1963, 1971), and the Russian translation of A Framework for Representing Knowledge by M. Minsky Organised Sound jos118731.3d 4/5/07 09:25:59 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) Figure 8. Excerpt from the score of Pagode by Alla Zagaykevych. 162 Alla Zagaykevych and Ivan Zavada in 1979, both had an impact on the conceptualisation of the musical phenomenon. Igor Pyaskovsky, one of the most active music theorists at the time, developed statistical methods to analyse musical works of various stylistic character- istics. In collaboration with Volodymyr Hoshovsky (who initially used empirical methods to study archived ethnographic materials), Pyaskovsky applied statistical methods to Ukrainian folkloric music in the hope of establishing a link with larger formalised compositions. In the 1980–1990s he made use of the concept of frame models to analyse polyphonic structures of vocal music and later published the article ‘Frame models for polyphonic styles’ (Pyaskovsky 2004), where he described a method of devising semantic networks to analyse musical works. By way of recognising and quantifying specific structural anchor points in the analysed music, Pyaskovsky proposed a method of reconstituting a frame model from a particular musical style. A style was therefore defined by the characteristics of the frame model, which was the starting point for further statistical analysis, thus creating a more objective perspective eliminating any possible stereo- types. 3.2. Acoustic analysis methods applied to musicology In the late 1970s, Leonid Dys elaborated the theory on the leading horizontal as an acoustic model, which presupposes the acoustic value of musicological analy- sis. Keeping in mind the oscillograph of a complex waveform originating from one or more leading voices always results in a continuous representation of the sum of all parts, by extrapolating information from a complex waveform system passed through an oscillo- scope,Dys’s experiment proved it was possible to obtain the acoustic model or shape of a melody by analysing the overall shape of the evolving waveform. The acoustic model would provide information on pitch, loudness and timbre. These experiments relied on acoustic measuring equipment (oscilloscopes, spectral analysers, frequency detectors, etc. …) to analyse pieces of different styles and configurations (monophonic, homophonic, poly-phonic). Dys arrived at the conclu- sion that when applied to musical excerpts of homo- phonic style (such as in Beethoven or Mozart Sonatas), the leading horizontalmodel almost invariably coincided with the thematic structure of the notes in the score, and it was therefore possible to apply the concept of leading horizontal to musical structures of various complexity in order to obtain a complete acoustic model of a scored composition. ‘Aside from providing the ‘leading hor- izontal’ model, the analysis of musical works by electro- acoustic means allows us to assume the existence of the acoustic reality in some theoretical and musicological categorisations’ (Dys 1980). Other investigations relating to the acoustic proper- ties of sound are included in the article ‘Acoustic phenomena as events’ by Gennady Kohut. The author presents an analysis of the composition Pression by Helmut Lachenmann, written for cello in 1969–1970. Foremost, Kohut analyses the composition as a sequence of musical events, seen as fully integrated acoustic entities. Again, Kohut used an oscillogram to determine the spectral content of the independent sonorous entities. By analysing the spectral quality of events, Kohut obtained the following categorisation of events and applied them to the analysis of Pression: N Noise categories (white, pink, brown) N Harmonic spectrum N Non-harmonic spectrum N Periodic modulations N Non-periodic modulations N Filtered spectrum N Impulse signals N Complex spectrum Rhythmic organisation (time) and dynamic scale (amplitude) were used as indicators for a complete analysis of sequential acoustic events. In trying to grasp the intrinsic notions of instrumental compositional techniques, analysis would be incomplete or even impossible without the additional use of a systematic acoustic analysis methodology (Kohut 2005). According to Kohut, this is also true for electronic music works. 3.3. Computer modelling of musical creativity With the active development of cybernetics in Ukraine, music theorists started to look at artificial intelligence to solve problems in general musical theory, and more specifically in understanding themechanisms of musical creativity. The article by Leonid Dys, ‘Investigating the question of musical creativity: potential of computer modelling’ (Dys 1988) describes themodelling of artistic and musical processes by computerised means. One of the aims of the article was to answer the following question concerning the transition from acoustic reality, sounding, to musical imagination; how is acoustic reality interrelated with musical thought? In essence, the aim is to understand how sound can help transform abstract musical ideas into artistic reality with the use of structure, order and sequence of musical events. In another article by I. Pyaskovsky, ‘Toward computer modelling of the creative process’ (Pyaskovsky 2002), a heuristic approach is used to present computer methods to model musical creativity as a solution to analyse works of different styles. The author proposes the following methods: N stochastic experiments on notes and structure, N probability analysis of sequential data (notes), and Organised Sound jos118731.3d 4/5/07 09:26:08 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) Development of electronic music in Ukraine 163 N application of Markov chains to form and structure. 3.4. Computer technology and compositional practice The propagation of computer technology in the late 1990s promptedmusicians and composers to upraise the techniques used in the creation of new works. New music technologies included MIDI-based equipment, score typesetting, arranging, sequencing, hard-disk recording and other means to enhance the functionality of the composer’s studio setting in many ways (Haydeiko 2002, 2005). Viktor Kaminsky collated detailed information on the history of the development of Western electronic music techniques in the book Electronic and Computer Music (Kaminsky 2001), but the focus was mainly on arranging, sequencing and publishing. However, the main advantage of this work was access to information written in the Ukrainian language, which historically proved difficult in the past. With themutli-disciplinary tendency of current research in electronic music and music technology, the processes became increasingly sophisticated, and that dimension has not yet reached the analytical phase of research development in Ukraine. The questions about the aesthetic, poetic and stylistic aspects of technological integration remain unsolved. The uncertainty arises when weighing the importance of technology versus musical and theoretical aspects, but this does not hinder experimenting with various compositional techniques encompassing morphological and syntactic algorithms borrowed from other disciplines (Shyp 2005). 3.5. Electronic music analysis Theoretical research about electronic music was inte- grated rather late in the realm ofmusicology inUkraine. It was perhapswithin circles ofmusicology students that deep analytical reflections on electroacoustic and algorithmic music (notably Xenakis, Nono) first appeared. Ukrainian electronic music was analysed through the aesthetic and historic prism, on the background of national artistic and musical traditions. Analysing electroacoustic compositions by Ivan Nebesny, Kateryna Maryniak focused on the imagery conveyed by his works and the individual voice of the composer. Here, Maryniak assumes the existence of a national school of electronic music, which benefited from the national heritage of traditional instrumental music, and continues and expands the determinant ingredients of national character with the use of electronic sounds (Maryniak 2002). A good illustration of the current situation regarding the analysis of Ukrainian electronic music is Inessa Rakunova’s research on the role and functional aspects of sound synthesis in composition. The author conceives a structural semantic analysis of electroacoustic works by Alla Zagaykevych, and studies the interrelationship between instrumental and electronic parts. Further- more, she introduces new technical terminology to describe the practice of sound synthesis and creation of electronic music. Current Ukrainian publications about music tech- nologies in both academic and vernacular cultures appropriate mostly borrowed terminology from the English language, or simply transliterated into Ukrainian. This applies to digital signal processing, sound synthesis, and MIDI hardware devices. The type of analysis proposed by Rakunova with the optic of expanding terminology is essential to preserve the intrinsic values and significance of the works analysed. 4. CONCLUSION Creative and theoretical processes in the field of electronic music in Ukraine exist as independent phenomena and are only starting to find their place in the scope of recognised scientific and artistic contexts. Despite the rather fragmented infrastructure of electro- nic music studies in Ukraine, arising questions deal with a wide range of fundamental notions of musicology, acoustics and computer music applications. Actually, the rather unsynchronised evolutive processes which lead to scientific reflections were unavoidable and occurred naturally as a consequence of the delayed introduction of electroacoustic methods in the realm of the higher layers of academically aligned art music projects. In our view, the cumulated locally determined experience of musicologists, and systems of musical thinking, relative to the integration of information theory in musical analysis, acoustic research, together with fundamental analytical knowledge about the functional aspects of musical form, structure and timbre, will be ‘synthesised’ in the light of a new perspective on the analysis of electronic music processes and their derived compositions. With the emergence of newmusic technologies, it is perhaps necessary to adopt a new aesthetic discourse to minimise the setbacks, which may have existed in the 1970–1980s in Ukraine. Today, in a relatively sophisticated communication environment, contemporary compositional techniques and methodologies undergo important influences, which no longer uniquely depend on existing institu- tional or local infrastructures. Traditional musical systems are omnipresent in the transmission of cultural values associated with the preservation of a certain identity: eithermusical, philosophical, social or cultural. Introduction of new media technologies may have the effect of destabilising andmodifying traditional musical practice.Analysing thisparticularphenomenoncouldbe determinant in thoroughly understanding the cultural significance and intrinsic meaning of musical creations relying on new technologies. Organised Sound jos118731.3d 4/5/07 09:26:08 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) 164 Alla Zagaykevych and Ivan Zavada In this regard, the present article epitomises the process by which artistic and theoretical concepts may emerge through the various combinations of elements from different spheres of influence and domains, sometimes even hemispheres. In fact, it is interesting to note that this collaborative work occurred entirely via the Internet, and demonstrates the vast creative potential available through new mediums of commu- nication, drastically affecting the concept of continuous time and geographic space. COPYRIGHT ACKNOWLEDGEMENTS Urbo, an excerpt from the balletWE;The Breakthrough, an excerpt from the Triptych (based on the music score to the motion picture The Breakthrough; This Is Ukraine, an exerpt from the suite This Is Ukraine; and Visions Fugitives 2, electronically created with the participation of A. Matar on a theme by Sergei Prokofiev; reproduced by kind permission of Igor Stetsyuk. Selected quotations from Quartet, Quintet repro- duced by kind permission of Maksym Abakumov. Selected quotations from Concerto misterioso repro- duced by kind permission of Leonid Hrabovsky. Selected quotations from Pagode reproduced by kind permission of Alla Zagaykevych. Selected quotations from Coloured Fluorography reproduced by kind permission of Oleksandr Nesterov. REFERENCES Dys, L. 1980. Providna horizontal ta formy I’i proyavu: do pytannja pro akustychnu sut’ muzychnoho tvoru (The Leading horizontal and its form: towards acoustical mean- ing of a musical creation). Ukrainske muzykoznavstvo No. 15 (Journal of Ukrainian Musicicology No. 15). Kyiv. Dys, L. 1988. Doslizhenn’a problem muzychnoho myslenn’a: perspektyvy komputernoji realizaci’i (Research on the question of musical thinking from the perspective of computer modelling). Zbirnyk prac’ Kyi’ivskoji Koncervatori’i (Collection of research papers – Kyiv Conservatorium of Music). Kyiv. Haidenko, A. 2002. Osoblyvosti stvorennja muzychnoho tvoru za dopomohoju suchasnykh komp’yuternykh tekh- nologiji (Aspects of music creation with current music technologies). Naukovij Visnyk No. 21 (Scientific Journal No. 21). Kyiv: NMAU. Haidenko, A. 2005. Rol’ muzychnykh komp’yuternykh tekhnologijioˆ voˆ suchasnij kompozytorskij praktyci (Role of music technology in contemporary compositional practice). Graduate Dissertation in Arts, Kharkiv. Kaminsky, V. 2001. Elektronna ta komputerna musyka (Electronic and Computer Music). Navchannij posibnyk (textbook). Lviv. Kohut, H. 2005. Akustychni fenomeny jak podi’i: problemy muzychnoho vykonavstva (Acoustic phenomena: aspects of music performance). Zhytomyr. Maryniak-Cherevko, K. 2002. Elektronna muzyka jak projav ukrainskoji khudozhnoji tradyciji (na prykladi tvoriv Ivana Nebesnoho) (Electronic music based on Ukrainian artistic tradition [on the works of Ivan Nebesny]). Molode muzykoznavstvo – Zbirnyk satej No. 7 (Young Musicology – Collection of articles No. 7). Lviv. Pyaskovsky, I. 2001. Do problemy komputernoho modeliu- vann’a processu kompozytorskoji tvorchosti (On the computer modelisation issues in the compositional pro- cess). Naukovij Visnyk No. 20 (Scientific Journal No. 20). Kyiv: NMAU. Pyaskovsky, I. 2004a. Do pytannja klasifikaciji bahatoho- locc’a v ukrainskykh narodnykh pisnjakh (On the question of classifying polyphony in Ukrainian folkloric songs). Problemy etnomuzykologi’I No. 2 (Questions in ethnomu- sicology No. 2). Kyiv. Pyaskovsky, I. 2004b. Frejmovi modeli polyfonichnykh styliv (Frame models of the polyphonic style). Zbirka statej na temumuzychnij styl: teoria, istoria, suchasnist (Collection of articles onmusical style: theory, history and present). Kyiv. Pyaskovsky, I. 2006. Noe-gotychni rysy v tvorchosti Leonida Hrabovskoho (Neo-gothic characteristics in the works of Leonid Hrabovski). Naukovij Visnyk No. 41 (Scientific Journal No. 41). Kyiv: NMAU. Rakunova, I. 2005. Osoblyvosti formuvannja obraznoji sfery ta i’I realizacja v Pahodi Ally Zahaykevych (Aspect of imagery in the creation of Pagode by Alla Zagaykevych). Naukovij Visnyk No. 6 (Scientific Journal No. 6). Odessa: ODMA. Rakunova, I. 2006. Heroneja Ally Zahaykevych: obrazne vtylennja (Heron by Alla Zagaykevych: imagery of concepts). Naukovij Visnyk No. 41 (Scientific Journal No. 41). Kyiv: NMAU. Shyp, S. 2005. Pro aktualni napriamky rozvytku muzychno- informacijnykh technologiji (About current directions in the development of music-information technology). Naukovij Visnyk No. 6 (Scientific Journal No. 6). Odessa: ODMA. Zaderatsky, V. 2003. Elekronna forma ta elektronna kompo- zycia (Electronic form and electronic composition). MA No. 2 2003. Kyiv. Zagaykevych, A. 1998. Concerto Misterioso leonida Hrabovskoho: kryz’ minlyvosti vidobrazhen (Concerto Misterioso by Leonid Hrabovsky: through reflections on modulation).UkrainskemuzykoznavstvoNo. 28 (Journal of Ukrainian Musicicology No. 28). Kyiv. Zinkevych, O. 2004. Elitarne ta massove v konteksti post- modernu: styl muzychnoji tvorchosti – estetyka, teorja, vykonavstvo (Elite and masses in the context of post- modernism: style of music creativity – aesthetics, theory, performance). Naukovij Visnyk (Scientific Journal). Kyiv: NMAU. DISCOGRAPHY Nesterov, O. 2001. The Mirror, Symphocarre 060-S-018. Nesterov, O., and Tovstukha, P. 2001. Claustrophobia, Symphocarre 061-S-019-2. Nesterov, O., and Tovstukha, P. 2001. Contaminated Sound, Symphocarre 037-S-009-1. Zagaykevych, A. 2001. Motus, CD038, Nexsound. Organised Sound jos118731.3d 4/5/07 09:26:08 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) Development of electronic music in Ukraine 165 AUDIO TRACK LIST Included on this Volume’s Organised Sound DVD 1. Hrabovsky, Leonid. Concerto Misterioso, for 9 instruments (fragment). Duration: 029190. 2. Godziatsky, Vitaly. 4 Scherdzi domestiki. Duration: 029450. 3. Godziatsky, Vitaly. The Career. Duration: 029120. 4. Steciuk, Ihor. Shvydkoplynnosti No. 2 Prokofieva (Vision No.2 Prokofiev). Electronic interpretation. Duration: 019320. 5. Steciuk, Ihor. Urbo. Duration: 019200. 6. Nesterov, Oleksandr.Coloured Fluorography (frag- ment). Duration: 029430. 7. Abakumov, Maksym. Quartet (fragment). Duration: 029520. 8. Zagaykevych, Alla. Pagode for tape and live electronics, J. Isaac on recorder (fragment). Duration: 039240. Organised Sound jos118731.3d 4/5/07 09:26:08 The Charlesworth Group, Wakefield +44(0)1924 369598 - Rev 7.51n/W (Jan 20 2003) 166 Alla Zagaykevych and Ivan Zavada APPENDIX E E.1 3D-Composer Software Instructions - Read Me file 108 Welcome to 3D-Composer Software Prototype! 3D-Composer is a standalone application built in Max/MSP/Jitter. It contains externals relying on Python 2.5 and external Python modules. Installation Instructions: For Mac OS X 10.5 Leopard: OS X 10.5 Leopard ships with Python version 2.5, you only need to run 3D-Composer Package Installer which automatically installs two additional Python modules:* 1. You are now ready to install 3D-Composer and additional Python modules to allow the application to run properly. Double-click the 3D-Composer Package Installer icon and follow instructions. This should install the numpy module** to run the pyext max/msp external and the networkx module*** to implement Graph Theory, and 3D-Composer software prototype. You will need to enter an administrator password to install on your computer. 2. Double-click the 3D-Composer application to start up the software. *please see note at the bottom of the page if the command does not execute. NOTE: If the modules and extensions do not load properly, you may need to restart the computer. For Mac OS X 10.4 Tiger: OS X Tiger ships with Python 2.3.5, please follow instructions to upgrade to Python 2.5* and install additional modules: 1. Double-click on the Python-2.5.1-macosx.dmg disk image to install MacPython 2.5 on your computer. 2. Once MacPython 2.5 is installed, double-click verify_python.term and in the terminal window, type in the word 'python', you should see the following appear as a result: Python 2.5.1 (r251:54869, Apr 18 2007, 22:08:04) [GCC 4.0.1 (Apple Computer, Inc. build 5367)] on darwin Type "help", "copyright", "credits" or "license" for more information. 3. You are now ready to install 3D-Composer and additional Python modules to allow the application to run properly. Double-click the 3D-Composer Package Installer icon and follow instructions. This should install the numpy module** to run the pyext max/msp external and the networkx module*** to implement Graph Theory, and 3D-Composer software prototype. You will need to enter an administrator password to install on your computer. 4. Double-click the 3D-Composer application to start up the software. IMPORTANT: If 3D-Composer does not quit properly, it might not start on the next run, simply double-click again and it should start properly the second time. NOTE: If the modules and extensions do not load properly, you may need to restart the computer. User Interface: 1. Display: interactive viewing pane for the micro-composition. The user can rotate and transform data by clicking on the nodes in the display. 2. Navigation panel: sliders determine viewer's position relative to the micro-composition and the scale at which the micro-composition is displayed. 3. Cursor options: there are three options to click-adjust the micro- composition in the viewer. Edit mode allows to modify the co- ordinates of one node, Set Origin allows the entire micro- composition to be adjusted and Replace allows updating the memory with most recent co-ordinates. 4. MIDI panel: the MIDI panel contains a user definable node input via note keyboard, additionally the choice f the MIDI instrument and number of nodes in the micro-composition are determined prior to playback. 5. Path direction: determines the playback order for the micro- composition. The four choices are forward, backward, random and graph. 6. 3D coordinates: allows the user to rotate the micro-composition in the x,y,z directions as well as auto-rotate in the z direction to generate MIDI notes. 7. Velocity panel sets individual velocity values for the nodes in the micro-composition. 8. Playback speed adjusts the rate at which the MIDI notes are played back with millisecond time intervals. Operating Instructions: 1. Once 3D-Composer is open, the Jitter components should be running and the OpenGL engine as well. This means that if you click the orange randomise button, a micro-composition should appear in the display window. The initial micro-composition contains 4 nodes. You may interrupt the graphic update process by toggling Jitter On/ Off. 2. To hear the result, toggle the play micro-composition button, or hit the spacebar on the computer keyboard. Choose a MIDI instrument from the drop-down menu next to the piano keyboard. 3. Use the X-Y-Z rotation knobs to transform the micro-composition in three dimensions. Z rotation is the preferred transformation axis. 4. Choose a path direction for a more specific micro-composition playback, explore the difference with Up, Down, Up/Down, Random and Graph. 5. Adjust the relative playback speed, it goes from very fast to slower towards the right. 6. The navigation, camera and position sliders can be changed for a different perspective. To reset, click any of the small 'r' buttons. 7. Use the sliders on the lower right corner to modify individual velocities for the micro-composition. Window Edit: It is possible to edit and transform the micro-composition directly on the display window. To edit individual nodes select 'Edit-Vertex', this will edit nodes relative to the display window origin (0,0). To change and transpose the entire micro-composition, select 'Set-Origin' which allows real-time manipulation of the micro-composition. To replace the current values in the application memory click 'Replace'. System requirements Make sure that your computer system meets the minimum requirements to run Max/MSP Runtime and Jitter: • Mac PPC G4 or G5 processor, or Intel® processor • Mac OS X version 10.3.9 or later (10.4 Recommended) • 256 MB of System Memory RAM (512 MB recommended) • 175 MB of available hard disk space • 1024 x 768 screen resolution (1440 x 900 recommended) • Python 2.5 January 31, 2008 * Pre-built Python packages are available from PythonMac ** for more information on the Numpy module please visit *** for more information on the NetworkX module please visit https://networkx.lanl.gov/wiki/Installing APPENDIX F F.1 JazzMutant Lemur multi-touch control set up JazzEditor set up window for multi-parametric control of the micro-composition in 3D-Composer. 112 APPENDIX G G.1 Installer CD: 3D-Composer Software Installer - CD No. 1 G.1.1 3D-Composer Installer.dmg G.1.2 Python-2.5-macosx.dmg G.1.3 ReadMe.pdf Installation instructions are found in the Read Me document located on the 3D-Composer Software Installation CD No. 1. It is important to note, that Mac OS X 10.5 Leopard ships with Python version 2.5, you only need to run the 3D-Composer Package Installer which automatically installs two additional Python modules and the 3D-Composer software prototype. However, Mac OS X 10.4 Tiger ships with Python 2.3.5, please follow instructions in the Read Me file to upgrade to Python 2.5, and then open 3D-Composer Package Installer which automatically installs two additional Python modules and the 3D-Composer software prototype. 113 APPENDIX H H.1 Audio CD Tracks: Composition Portfolio - CD No.2 H.1.1 Six Electroacoustic Studies Track 1: Study No. 1 4:50 min Track 2: Study No. 2 5:15 min Track 3: Study No. 3 5:25 min Track 4: Study No. 4 5:15 min Track 5: Study No. 5 4:44 min Track 6: Study No. 6 5:08 min H.1.2 Electroacoustic Composition Track 7 : Dada 2009 9:00 min Total playing time: 39 minutes and 37 seconds 114