A Catalog of Solo Works for Marimba with Electronics and

An Examination and Performance Guide of

"Flux" for Marimba and Electronic Tape by Mei-Fang Lin

by

Yi-Chia Chen

A Research Paper Presented in Partial Fulfillment

of the Requirements for the Degree
Doctor of Musical Arts

Approved November 2011 by the

Graduate Supervisory Committee:

J. B. Smith, Chair
Jeffery Bush
Glenn Hackbarth
Gary Hill
Mark Sunkett

ARIZONA STATE UNIVERSITY

December 2011
 ABSTRACT

The marimba has garnered increased attention in percussion performance

over the past thirty years. Literature for beginners through professionals in a

multitude of styles have been written. With the ever-growing number of

marimbists since the 1980’s there has been a high demand for new works.

Numerous pieces were created through commissions: composers contracted to

write music by individuals, institutions, and consortia. Three primary types of

marimba solo music were written: unaccompanied solos, concerti, and marimba

solos with electronic accompaniment.

Since electronic music is relatively new in marimba performance, there is

very little information published regarding this topic. Only a handful of well-

known compositions in this genre have been widely performed, and a great

number of existing works are unfamiliar to the percussion world. The goal of this

study is to generate an overview of electronic music in marimba performance by

compiling a chronological catalog of compositions written for solo marimba with

electronics. In addition, this study wishes to promote this genre of solo marimba

music through the commission, performance, examination, and recording of a

new work for marimba and electronics.

It is the author's wish to bring this topic to percussionists' attention, and to

enrich the marimba solo literature by both exploring existing literature and

encouraging the commissioning and performance of marimba music.

i
 DEDICATION

To my parents,

Hsin-Tsun Chen and Chiu-Chu Ko,

and in memory of my grandmother,

Shiou-Jr Su,

who passed away on Oct. 25th, 2011,

at the age of eighty-four.

謹將此論文獻給我的父母

陳信村，柯秋菊

並以此紀念我的祖母

蘇秀枝

卒於民國100年10月25日

享年84歲

ii
 ACKNOWLEDGMENTS

First, I would like to thank my percussion teachers, Dr. J.B. Smith, Dr.

Mark Sunkett, and Simone Mancuso, for their guidance and inspiration. I enjoyed

every lesson and ensemble class I took under their instruction. The experience

contributed greatly to my growth as a musician.

I would also like to thank my committee members, Dr. Mark Sunkett, Dr.

Glenn Hackbarth, Prof. Gary Hill, and Dr. Jeff Bush, for their insight and advise

for this project. I especially thank Dr. Mei-Fang Lin, for her time and

contributions that made this project possible.

My deepest gratitude goes to my mentor and committee chair, Dr. J. B.

Smith, for his unending support and encouragement through my study in the

United States. The members of the percussion studio also played a significant role

during my study at Arizona State University. Thank you for being very

supportive, inspiring, and fun to work with, and I will miss very much the

“joyful” time I spent with each of you.

I cannot forget to thank my friends that I met in the United States and my

friends in Taiwan; your support and encouragement guided me through the

intense parts of my graduate studies. I would also like to acknowledge Tsen-Yi

Lin, Chia-I Chen, Yen-Ting Chuang, Stephanie De La Rosa, and my colleagues

for their support and help throughout the completion of this document.

Finally, I would like to thank my family, especially my parents, for their

endless love, and for supporting my life decisions.

iii
 TABLE OF CONTENTS

Page

LIST OF TABLES.................................................................................................... vii

LIST OF FIGURES .................................................................................................viii

PREFACE...... ............................................................................................................ ix

CHAPTER

1 INTRODUCTION ................................................................................. 1

Marimba Solo Literature: Past, Present, and Future ................... 1

Purpose of Study .......................................................................... 5

Scope of Study ............................................................................. 6

Range and Limitations........................................................... 6

Difinition of Terms ................................................................ 7

Major Sources ........................................................................ 8

2 SOLO LITERATURE FOR MARIMBA AND ELECTRONICS ...... 9

A Chronological Catalog and Overview of Solo Literature for

Marimba and Electronics ................................................................... 9

The Current Status of Solo Works for Marimba and Electronics

in the Marimba Literature ................................................................ 16

3 BIOGRAPHY OF DR. MEI-FANG LIN............................................ 22

Educational Background............................................................ 22

Awards and Accomplishments .................................................. 23

Major Influences and Philosophy .............................................. 24

Western Influences .............................................................. 24

iv
CHAPTER Page

Eastern Influences................................................................ 26

Other Experiences................................................................ 28

4 AN EXAMINATION OF "FLUX"..................................................... 30

Compositional Technique: Electronic Part................................ 30

Compositional Technique: Marimba Part ................................. 31

Pitch Material and Subsections............................................ 31

Compositional Ideas of “Flux” ............................................ 38

Rhythmic Devices................................................................ 40

Meter, Rhythm, and Pattern........................................... 41

Polyrhythm..................................................................... 44

Rhythmic Displacement ................................................ 44

Octave Displacement..................................................... 46

5 PERFORMANCE GUIDE OF "FLUX"............................................. 49

Potential Performance Issues ..................................................... 49

Playing Techniques and Difficulty...................................... 49

Dynamics and Balance ........................................................ 49

Performance Suggestions........................................................... 51

Textural Changes ................................................................. 51

Roll....................................................................................... 52

Sticking ................................................................................ 54

6 CONCLUSION.................................................................................... 59

REFERENCES ........................................................................................................ 61

v
APPENDIX Page

APPENDIX

A ALPHABELTICAL LIST OF COMPOSERS’ WEBSITES OR

RELATED WEBPAGES OF WORKS IN THE

CHORONOLOGICAL LIST OF COMPOSITIONS ................. 67

B LIST OF WORKS BY MEI-FANG LIN ........................................ 74

C DISCOGRAPHY OF MEI-FANG LIN .......................................... 77

D LETTER OF PERMISSION ............................................................ 80

E CONTACT INFORMATION OF MEI-FANG LIN ....................... 82

F A RECORDING OF “FLUX” FOR MARIMBA AND

ELECTRONIC TAPE ................................................................... 84

G PROGRAM NOTES OF “FLUX” ................................................... 86

vi
 LIST OF TABLES

Table Page

1. Works for Solo Marimba and Electronics Composed in the 1980s .... 10

2. Works for Solo Marimba and Electronics Composed in the 1990s..... 11

3. Works for Solo Marimba and Electronics Composed in the 2000s..... 13

4. Number of Three Types of Works in the Suggested Literature List

From Selected University Curricula ................................................. 18

5. Works Included in the Suggested Literature Lists and the Number of

Appearances ...................................................................................... 19

6. Three Sections of “Flux” ...................................................................... 31

7. Subsections of “Flux” ........................................................................... 33

8. Scalar Figures in mm. 37 to 46............................................................. 47

9. Synchronized Textural Changes in “Flux”........................................... 51

A.1. List of Works by Mei-Fang Lin............................................................ 75

A.2. Discography of Mei-Fang Lin .............................................................. 78

A.3. List of Recordings with Mei-Fang Lin as Pianist ................................ 79

vii
 LIST OF FIGURES

Figure Page

1. Harmonic Series Based on C2 as Fundamental ................................. 32

2. Flux, mm.15-16 .................................................................................. 34

3. Flux, mm. 23-24 ................................................................................. 35

4. Flux, mm. 29-32 .................................................................................. 35

5. Flux, mm. 54-55 .................................................................................. 36

6. Flux, mm. 66-75 .................................................................................. 37

7. Flux, mm. 1-9 ...................................................................................... 39

8. Flux, mm. 37-45 .................................................................................. 42

9. Flux, mm. 131-136 .............................................................................. 43

10. Flux, mm. 57-59 .................................................................................. 45

11. Flux, mm. 127-128 .............................................................................. 45

12. Flux, mm. 10-14 .................................................................................. 53

13. Flux, mm. 118-125 .............................................................................. 53

14. Flux, mm. 75-80, Suggested Sticking ................................................. 55

15. Flux, mm. 107-112, Suggested Sticking ............................................. 55

16. Flux, mm. 19........................................................................................ 56

17. Flux, mm. 129-131, Suggested Sticking ............................................. 57

viii
 PREFACE

Being a percussionist, I am always amazed by the tremendous variety of

percussion instruments and the incredible experience of playing various types of

percussion music. Out of all of the solo percussion instruments, I am especially

attracted to the marimba and the great variety of solo literature written for it.

In 2009, I began to prepare material for a marimba recital that would be

used to fulfill one of my D.M.A. requirements. While preparing the music, I

became very interested in the history of marimba literature. I began by collecting

information and documents that focused on marimba literature, such as world

leading marimbists’ performance repertoire, research about marimba literature,

programs from marimba recitals, and suggested literature lists from university

curricula and marimba artists. I noticed that very few works written for solo

marimba and electronics were included. This lack of information inspired me to

develop the first part of this project, which researches works composed for solo

marimba and electronics that were published, composed, or documented in the

United States.

While collecting information on solo marimba literature, a friend of mine,

Lin-Yu Wang, invited me to her D.M.A. piano recital that was presented at

Arizona State University in February, 2010. I was deeply impressed by her

performance of “Interaction” for Piano and Tape by Taiwanese composer Mei-

Fang Lin, and wondered if a notable composer such as Lin had written any

compositions for the marimba. In researching Mei-Fang Lin’s compositions, I

realized that she had extensive experiences composing electronic music, but had

ix
not written anything for the marimba, I contacted her in the summer of 2010 and

commissioned her to write a work for solo marimba and electronics for my

project.

The commissioned work “Flux” for Marimba and Electronic Tape was

completed in October 2011, and was premiered at Arizona State University on

November 20, 2011. The second part of this project consists of an examination

and a performance guide of “Flux,” as a result of my collaboration with the

composer.

x
 CHAPTER 1

INTRODUCTION

Marimba Solo Literature: Past, Present, and Future

The “Concertino for Marimba and Orchestra” (1940) by Paul Creston is

considered the first serious work written for the concert marimba.1 The marimba

began a journey that lead to the creation of a new language. The marimba has a

varied past, both musically and culturally. Ancestors of the instrument go back

centuries in distant locations such as Africa, China, and Indonesia. However, as a

solo concert instrument, it has taken seventy years to establish its current position

in the world of percussion. Only in the past three decades has the instrument been

embraced by established composers. The majority of compositions available to

marimbists between 1940 and 1980 were transcriptions or works written by

percussionists.2 Not until prominent composers and inspired performers generated

new works did marimba literature expand and capture the instrument’s potential.

Commissioning for the marimba by prominent composers has increased

significantly since 1980. Two events in particular significantly impacted the

development of marimba literature: The National Endowment of the Arts (NEA)

                                                                                                               
1
Sarah E. Smith, “The Development of the Marimba As a Solo Instrument
and the Evolution of the Solo Literature for the Marimba” (DMA diss., Ohio State
University, 1995), 57-58.
2
I-Jen Fang, “The 1986 National Endowment for the Arts Commission:
An Introspective Analysis of Two Marimba Works, Reflections on the Nature of
Water by Jacob Druckman and Velocities by Joseph Schwantner, Together with
Three Recitals of Selected Works by Keiko Abe, Christopher Deane, Peter
Klatzow, Wayne Siegel, Gitta Steiner, and Others” (DMA diss., University of
North Texas, 2005), 1.
1
Consortium Commissioning Grant (1986) and the New Music Marimba

Commissioning Project. The NEA Consortium Commissioning Grant issued to

William Moersch, Gordon Stout, and Leigh Howard Stevens through the

Percussive Arts Society (PAS) in 1986, resulted in three significant solo works

being written by Pulitzer Prize-winning composers: “Reflections on the Nature of

Water” by Jacob Druckman, “Islands from Archipelago II: Autumn Island” by

Roger Reynolds, and “Velocities” by Joseph Schwantner.3 The successful NEA

Commissioning Grant was soon followed by another commission project in the

late 1980s, which was launched by the non-profit organization New Music

Marimba.4 Consequently, three marimba concerti5 by Richard Rodney Bennett,

Andrew Thomas, and Libby Larsen were added to the marimba literature, and are

recognized as the New Music Marimba’s first contribution to the marimba

literature.6 New Music Marimba, along with Percussive Arts Society, marimbists

Nancy Zeltsman, and Robert Van Sice continue to commission works by

prominent composers. Three major solo works were added to the marimba solo

literature in the early 1990s, including “See Ya Thursday” (1993) by Steven

                                                                                                               
 
3  William Moersch, “Commissioning Marimba Music,” Percussive Notes

37, no. 5 (October 1999): 62.

4
New Music Marimba, founded in 1986 by William Moersch, is dedicated
to commission, perform, and promote new music for marimba.
5
Including “Concerto for Marimba and Chamber Orchestra” (1988) by
Richard Rodney Bennett, “Loving Mad Tom: Concerto for Marimba and
Orchestra” (1990) by Andrew Thomas, and “Marimba Concerto: After Hampton”
(1992) by Libby Larsen.
6
William Moersch, “Commissioning Marimba Music,” 62-63.
2
Mackey, “Rhyme and Reason” (1993) by Eugene O’Brien, and “Marimbology”

(1993) by Gunther Schuller. These two events clearly marked the beginning of

consortium commissioning in the history of marimba literature,7 and can be

considered the first significant contributions to the development of marimba

literature by American composers.

Indeed, through the efforts of these pioneers, a respected repertoire was

established in twenty-five years. However, various leading figures in the field feel

the current literature for four-mallet marimba solos is still insufficient, and agree

that the marimba repertoire has space to grow. Mark Ford, coordinator of

percussion studies at The University of North Texas and a Past-President of the

Percussive Arts Society, sees the next thirty years as a period for the public to

gain a greater awareness of the marimba through continued solo and chamber

music settings,8 which would inspire more composers to compose serious works

for the marimba. Ford’s observation shows not only the necessity of continued

commissioning for the marimba, but also the direction of the music for

commissioners to consider.

                                                                                                               
7
I-Jen Fang, “The 1986 National Endowment for the Arts Commission,”
2.
 
8
Kristopher Keeton, “Perspectives: An Interview with Mark Ford,”
Percussive Notes 45, no. 3 (June 2007): 44-45.
3
 Along with Mark Ford, Nancy Zeltsman has taken action to contribute a

series of compositions to the repertoire. In 2006, Zeltsman initiated a project,

ZMF New Music, where seven marimbists premiered and recorded twenty-four

new works.9 Two volumes of Intermediate Masterworks for Marimba, that

include the twenty-four new works, were published in July 2009, hoping to fill the

gap of marimba repertoire between “idiomatic etudes and virtuosic ‘warhorses,’

thereby meeting important needs of both students and concert performers.”10

Professionals in the field, such as Ford and Zeltsman, are aware of the

necessity of continued commissioning activities that focus on multiple styles and

levels. However, the existing literature and commission projects reveal a problem:

unaccompanied solo works and concerti obtain much greater attention than the

third type of marimba solo music: solo works for marimba and electronics. For

example, works that commissioned from the activities mentioned above,

including NEA, New Music Marimba, and ZMF New Music, are unaccompanied

solo works and concerti. While many dissertations and scholarly publications that

document information about marimba literature and its development were written

                                                                                                               
9
Twenty-four works were premiered and recorded by eight marimbists,
including Ivana Bilic, Thomas Burritt, Jean Geoffroy, Beverley Johnston, William
Moersch, Gordon Stout, Jack Van Geem, and Nancy Zeltsman in June and July
2009, during the Zeltsman Marimba Festival (ZMF).
 
10  Nancy Zeltsman, “Intermediate Masterworks for Marimba,” ZMF New

Music, http://newmusic.zmf.us/intermediate-masterworks.cfm (accessed June 27,

2011).
   
4
during the past two decades,11 very few documents focus on solo works for

marimba and electronics. In order to understand the current status of electronic

music in the marimba repertoire, a study of compositions written for marimba and

electronics is essential. A chronological catalog of compositions written for solo

marimba and electronics compiled by the author aims to establish a list of the

existing literature. Furthermore, to understand the current standpoint of electronic

music in the field of marimba performance, a survey of the three types of

compositions within the suggested marimba literature from selected university

curricula is also included in this study.

Purpose of the Study

The goal of this study aims to offer an overview of the existing literature

written for solo marimba and electronics and its status in university curricula. In

addition, the author has documented the process by which a new work, “Flux”

(2011) for marimba and electronic tape12 by Mei-Fang Lin, was added to the

marimba repertoire.

                                                                                                               
11
Dissertations that discussed marimba repertoire includes: “The
Development of the Marimba as a Solo Instrument and the Evolution of the Solo
Literature for the Marimba” (1995) by Sarah Smith, “An Annotated Catalog of
Published Marimba Concertos in the United States From 1940-2000” (2004) by
Christine Conklin, “An Annotated Bibliography of Solo Marimba Music by
Canadian Composers, 1981-2006” (2007) by Jeffery Jerry Donkersgoed, and “A
Catalog of Works for Marimba Soloist with Percussion Ensemble Composed
Between 1959 and 2008 with Analysis of Selected Works” (2008) by David
Kissinger, along with many dissertations and thesis that focus on an examination
of individual works.
 
12
The complete title provided by the composer. The “tape” refers to the
pre-recorded electronic part generated by a computer.

5
 New marimba music pioneer William Moersch states “the commissioning

of new music has been the primary source of marimba repertoire since 1940.”13

The new work “Flux” and an examination of this work are the result of a

collaboration between Mei-Fang Lin and the author, who hopes to continue the

tradition of “commissioning and collaborating” between composer and performer

and to draw greater attention to this specific format of composition for the

marimba.

Scope of the Study

Range and Limitations

For the scope of this study, I have divided marimba solo repertoire into

three major types: unaccompanied solo work, solo work with electronics, and

concerto. Works for “solo with piano accompaniment” are excluded, since this

type of work is not a common setting in marimba literature.14 In addition, music

for marimba with any accompanying instrument would fit into a fourth category,

chamber music, which is not considered in this study.

The chronological catalog of compositions written for marimba and

electronics included in this study are limited to the original four-mallet solo works

written for marimba and electronics. While compiling the list of existing

compositions, works that are transcriptions, works that require six-mallet

techniques, and works written for marimba and percussion instruments are

                                                                                                               
13
William Moersch, “Commissioning Marimba Music,” 62.
14
Since that four-mallet techniques enable performers to play more than
one independent voice at the same time; a majority of marimba solo literature is
composed for marimba alone.
6
excluded. However, works written for marimba with secondary or incidental use

of additional percussion instruments are included in the catalog of compositions.

Definition of Terms

Electronic Music “sought to expand compositional resources beyond the

sounds available from instruments and voices, to explore new sound shapes and

timbres both by transforming recorded sources and by synthesizing new sounds,

and to break the confines of fixed pitch and metrically based approaches to

rhythm.”15 Therefore, a tape of recorded acoustic instrument accompanying live

performance is not included as a type of electronic music in this study.

Solo work for marimba and electronics is defined as a work for one

performer on the marimba, along with one of the following three types of

electronic parts: fixed electronic part, electronic effects, or live electronics.

A fixed electronic part is often referred as a tape part, wherein the

electronic part is pre-recorded and played during the performance, serving as an

accompaniment or other musical role as desired by the composer. Electronic

effects is a technique “where the computer amplifies and modifies the sound of

the percussion instruments without necessarily adding additional unique

sounds.”16 For example, amplification and reverberation are the widely used

technique of electronic effects. The last type, live electronics, is the most

                                                                                                               
15
Simon Emmerson, Denis Smalley, “Elctro-acoustic music,” Oxford
Music Online, http://www.oxfordmusiconline.com.ezproxy1.lib.asu.edu/subscribe
r/article/grove/music/08695 (accessed June 29, 2011).
16
Charles Martin, “Percussion and Computer in Live Performance”
(Master’s thesis, Australian National University, 2009), 19.

7
complicated setting among the three types of electronic part. In live electronic

music, technology and devices are used to generate, transform, modify or trigger

sounds produced by the performer.17 Thus, it is also referred as “interactive

electronics.” In the chronological catalog of compositions for marimba and

electronics (table 1, 2, and 3 in chapter two), a column “type” indicates the

specific type of electronic under which that work falls.

Major Sources

The chronological catalog of compositions for solo marimba and

electronics is based on information available in the United States yet is not limited

to works written by composers of the United States. As a result, this catalog of

compositions includes works written by American composers, works that are

published in the United States, works widely known and performed in the United

States, and works that are documented in online archives of professional musical

associations and academic institutions18 in the United States, in order to cover a

broad range of repertoire that is currently documented and available in the United

States.

                                                                                                               
17
Simon Emmerson, Denis Smalley, “Elctro-acoustic music.”
18
Including the online archives of Percussive Arts Society (PAS),
American Music Center (AMC), American Composers Alliance (ACA),
American Composers Forum (ACF), WorldCat, ProQwest, The ASU School of
Music Percussion Library Database, Boston Conservatory Percussion Database,
and online catalog of major publishers of percussion music.

8
 CHAPTER 2

SOLO LITERATURE FOR MARIMBA AND ELECTRONICS

A Chronological Catalog and Overview of Solo Literature for Marimba and

Electronics

The chronological catalog of compositions for solo marimba and

electronics is shown in three tables (see table 1, 2, and 3), and each table contains

works written within approximately a decade. The earliest work dates back to

1978, and the most recent work was written in 2010.

A result of 90 works written between 1978 and 2010 is included, with 21

works composed in the first decade (1978-1989, see table 1), 25 works composed

in the second decade (1990-1999, see table 2), and 44 works composed in the last

decade (2000-2010, see table 3). Within the 90 works written for marimba and

electronics, 56 works were written for marimba and fixed electronics, 19 works

were composed for marimba and live electronics, 2 works utilized amplification

and reverberation as electronic effects, and 13 works are not categorized due to a

lack of information regarding the electronic part.19

Rather than attempting to compile an all-inclusive list, the author hopes

that this catalog of compositions will serve as a source of information for

percussionists and marimbists who wish to explore the repertoire for solo

marimba and electronics.

                                                                                                               
19  In table 1, 2, and 3, the abbreviation under the column “type” refers to

the three types of electronic parts mentioned previously: tape part (T), electronic
effect (E), and live electronics (L).
9
 Table 1. Works for Solo Marimba and Electronics Composed in the 1980s
Year Title Composer Type
1978 Metamorfosi I: per marimbafono e nastro Iván Patachich T
1979 Polytempus II for Marimba and Computer Dary John Mizelle T
1981 Marimba Music Maurice Wright T
1982 For Marimba and Tape Martin Wesley-Smith T
1982 Nightwatch: per marimba e nastro magnetico Barry Traux T
1983 Angels Gary Kulesha T
1983 Instrument flying for Marimba and Computer Tape John Celona T
1984 Puzzle for Marimba and Tape Gerard Geay T
1985 Miroirs for Marimba and Tape Guy Reibel T
1985 Spherical Music for Solo Marimba and 11 Pre-recorded Marimbas Eve Beglarian T

10
1985 White Knight and Beaver for Soloist(s) and Tape Martin Wesley-Smith T
1986 Atamasco and the Wooden Shelter Christopher Stowens T
1987 Fabian Theory for Percussion Solo and Digital Delay Nigel Westlake
1987 Morphism IV: for Marimba, MIDI Mallet Controller and Computer Mark Waldrep
1987 Percussion of the Air for Marimba and Tape Claude Schryer T
1988 Ball the Jack for Marimba and Tape Stephen Bull T
1988 Pay No Attention To That Man Behind The Curtain Caleb Morgan T
1988 Work-Out for Marimba and KAT (computer activator) Vic Hoyland
1989 Ode to Whales for Marimba Improvisation and Tape Teppo Hauta-aho T
1989 Premonitions I for Marimba and Tape Brian McCue T
1989 Pour un Végétal qui Sonne for Marimba and Tape François Rossé T
Total: 21 Works
 Table 2. Works for Solo Marimba and Electronics Composed in the 1990s
Year Title Composer Type
1990 In Praise of Nature for Marimba and Tape Keiko Abe T
1990 From the Far Side of Earth for Marimba and Tape Keiko Abe T
1990 Modi-fications for Marimba and Tape David Clark Little T
1991 Black, White & Rose: Music for Marimba with Gongs, Woodblocks and Tristram Cary T
Prerecorded Tape
1991 Celestial Dances for Marimba and Tape Charles Argersinger T
1991 Daydreams for Marimba and Electronics Philippe Boesmans L
1991 Gaian Pulse for Marimba and Pre-recorded Tape Philip Armstrong T
1991 Mare - a' 440'' for mMarimba and Live Electronics Peter Smith L

11
1991 Rezukuja for Bass Marimba and MIDI Based Electronics Carl Stone
1992 Nature’s Course for Marimba and Prerecorded Tape Stephen Rush T
1992 Rimbasly Daniel McCarthy T
1993 Musique 2 Duo Marimba Bande Magnétique Yves Meylan
1993 Metallic Groove for Marimba and Tape James Hegarty T
1994 Anagramm 1 für Marimbaphon und Tonband Udo Diegelmann T
1995 Le Chuchemar Climatisé Alian Thibault T
1995 Pixelation for Marimba and Tape Donald Chamberlian T
1995 Sonatina for Marimba, Electronic Reverb, and Soundtrack Garry Eister
1997 Fertility Rites for Marimba and Tape Christos Hatzis T
1997 Pentaphase : für Marimbaphon und Tonband Udo Diegelmann T
 Table. 2 Continued
Year Title Composer Type
1997 W. J. (Take Three) pour Marimba et Haut-parleurs Jacques Demierre T
1998 Hangar 84 for Marimba and Tape Paul Bissell T
1998 Verve (Reverberation) Chris Paul Harman E
1999 Ice Rhythm for Solo Marimba or Marimba with Electronics Emma Lou Diemer T
1999 Quiet Silence Steven Everett L
1999 WarHammer Daniel McCarthy T
Total: 25 Works

12
 Table 3. Works for Solo Marimba and Electronics Composed in the 2000s
Year Title Composer Type
2000 Scratchy Marimba Meets the Low Pass Shrew Stephen Vitiello
2001 The Alabados Song Paul Bissell T
2001 Chaco Skies for Marimba and Computer Joseph Harchanko
2001 Dark Forest for Marimba and Interactive Electronics Timothy Place L
2001 Horizont Alfred Zimmerlin L
2001 Serendipity for Marimba and Tape Lars Indrek Hansson T
2001 Theater in Music for Marimba and Electronics Ken Ueno
2002 Ayehli Alexandra Gardner T
2002 Crystal Butterfly for Solo Marimba and Recording Ben Wahlund T

13
2002 Liquid Bars João Pedro Oliveira T
2002 Plugged 1.1 for Solo Amplified Marimba Jérôme Blais E
2002 Rimbarimba Rodrigo Sigal L
2003 Mia-graik-mabta: for marimba and Live Computer Brett Masteller L
2003 Music for Marimba and Computer Cort Lippe L
2003 Night Chill for Marimba and Recorded Sound Christien Ledroit T
2003 Script Pedro Amaral L
2003 Take the Six for Marimba and Electronics Moto Osada T
2003 Without Words for Marimba and Live Electronics Paul Wilson L
2004 Precipice for Marimba and Computer Generated Sounds Allan Schindler T
2004 Reflections for Marimba and Tape Petra Bachrata T
 Table 3. Continued
Year Title Composer Type
2004 Sublimation for Marimba and Electronics Kyong Mee Choi
2004 Un-sui-fu Katsuhiro Tsubonoh
2005 Diastemas for Marimba and Electroacoustic Sounds Alcides Lanza T
2005 Monovalence Ia for Marimba Improvisation and Tape Shin-ichiro Ikebe T
2005 One Study One Summary for Marimba, Junk Percussion and Digital John Psathas T
Audio Playback
2005 Passacaille pour Marimba et Live Electronics Pierre Bartholomée L
2005 Quaderno for Marimba and Live-Electronics Flo Menezes L
2006 C:M for Marimba and Recorded Sound Thomas McKenney T

14
2006 Marimbascape for Sequence and Marimba Michael Waldrop T
2006 Sueño Con Ranitas for Marimba and Electronics Julio d’Escriván L
2006 Traces IV for Marimba and Live Electronics Martin Matalon L
2007 Tempo Distortion #4 for Marimba and Pre-recorded Processed Marimba Steve Kornicki T
Samples
2007 (Un)selfish Object Baljinder Sekhon L
2008 Anchialine for Marimba and Eight Channel Cubic Electronics Travis Weller
2008 Fluid Grains for Marimba/Piano and Electronics Shintaro Imai L
2008 In the Fire of Conflict for Marimba and Audio Playback Christos Hatzis T
2008 Rhythm and Texture for Marimba and Electronics Shintaro Imai L
2008 Sequoia for Marimba and Tape Thomas Beverly T
 Table 3. Continued
Year Title Composer Type
2009 Take Flight for Marimba and Interactive Computer Processing Allan Schindler L
2010 IX for Marimba and Live Electronics Drake Andersen L
2010 Save the .WAV for Marimba and Electronics Winton Yuichiro White T
2010 Tipuana Tipu for Marimba and Electronics Diana Salazar
2010 Unsupervised for Marimba and Pre-recorded Electronics Bijan Olia T
2010 Woods Walker for Marimba and Electronics Lynn Job T
Total: 44 Works

15
 The use of electronic music in the marimba repertoire can be observed,

based on several criteria. First of all, it is evident that fixed electronics was the

major type of electronic part in the 1980s and 1990s. The majority of the works

that were composed before 2000 (see the column “type” in table 1 and 2) are

written for marimba and fixed electronics. Secondly, live electronics had not been

used widely in compositions for the marimba until the last decade. Within the 19

works written for marimba and live electronics, 16 works were composed

between 2000 and 2010. Lastly, the number of compositions increased largely in

the last decade. Looking at the total number of works in table 1, 2, and 3, we

found that 21, 25, and 44 works for marimba and electronics were written in each

decade. An increasing number in the last decade confirms that in the twenty-first

century, computer and electronic music play a greater role in percussion music

than previously. Along with the increase in the use of computer and the fast-

growing technology in composing, electronic music in marimba performance

undoubtedly needs to be further explored by both composers and performers.

The Current Status of Solo Works for Marimba and Electronics in the

Marimba Literature

After providing an overview of the solo literature composed for marimba

and electronics, an examination of the suggested marimba literature in selected

university curricula is examined in this study, in order to better understand the

current status of electronic music in the marimba repertoire.

16
 The suggested marimba literature lists for percussion performance

students compiled by ten university instructors and professors20 were chosen

randomly to generate a comparison (see table 4) based on the number of the

works written for each of the three types of marimba solo: unaccompanied solos,

concerti,21 and solo works for marimba with electronics. In nine out of the ten

suggested literature lists, the works were graded based on difficulty, using three

different grading systems: grade one to four (or up to grade six); lower division to

graduate study; and beginner level to advanced level. However, concerti and solo

works for marimba with electronics are often written for experienced performers

and are uncommon to be listed in the suggested literature for beginner or

underclassmen. Therefore, only works listed under grade four and above; upper

division and above; and the level of intermediate and above were taken into

account when listing the number of the works for three types of compositions.22

In table 4, the middle four columns in the first row include the three types

of works, which are unaccompanied solos, concerti, and solo works with

                                                                                                               
20
Arizona State University (ASU), Boston Conservatory (BC),
Campbellsville University (CU), Minnesota State University at Moorhead (MSU),
University of Central Florida (UCF), University of Kentucky (UK), University of
Tennessee at Martin (UT-Martin), University Texas at Austin (UT-Austin),
Robert Van Sice (Peabody Conservatory and Yale University), and William
Moersch (University of Illinois at Urbana Champaign).
21
Concerto is defined as a work that features a soloist on the marimba,
and accompanied by an ensemble of any type and size, including orchestra, wind
ensemble, percussion ensemble, or chamber ensemble.

22  Except
for the suggested literature compiled by Robert van Sice and the
University of Central Florida, works listed under grade two and above are
included in order to correspond the level of difficulty to the other suggested
literature lists.
17
electronics. The additional type “collection/series” is essentially unaccompanied

solo works, but published as part of a book that contains multiple solo works or a

series of works that is usually performed as a suite or a set.

Table 4. Number of the Three Types of Works in the Suggested Literature List
From Selected University Curricula

Institution Level Unaccomp. Collection Concerto Solo with Other Total

Solo /Series Elect.
ASU Upper 40 12 5 1 0 58
Graduate 26 7 6 2 0 41
Total 66 19 11 3 0 99
BC Total 89 8 0 1 1 99
CU Upper 21 2 2 0 2 27
Graduate 13 0 2 1 2 18
Total 34 2 4 1 4 45
MSU Upper 33 9 11 2 11 66
Graduate 15 2 3 1 1 22
Total 48 11 14 3 12 88
UCF Grade 2 22 8 2 0 2 34
Grade 3 30 6 6 0 3 45
Grade 4 32 5 8 2 0 47
Total 84 19 16 2 5 126
UK Upper 34 5 2 4 1 46
Graduate 18 1 4 2 1 26
Total 52 6 6 6 2 72
UT-Austin Int.–Adv. 29 4 0 0 0 33
Adv.+ 20 1 0 0 0 21
Total 49 5 0 0 0 54
UT-Martin Upper 38 3 1 3 2 47
Graduate 13 0 2 1 2 18
Total 51 3 3 4 4 65
RVS-Yale Grade 2 2 1 0 1 0 4
Grade 3 4 2 0 0 0 6
Grade 4 12 0 0 0 0 12
Grade 5 8 0 1 1 0 10
Total 26 3 1 2 0 32
WM-UI Total 40 16 5 4 16 81
Sum of 539 92 60 26 44 761
Total

The highlighted numbers under the column “Total” and “Solo with

Electronics” show the relation between the total number of works and works

written for marimba with electronics. For example, the suggested literature list

18
from Arizona State University has 99 marimba solo works listed under the level

of upper division and graduate study. Only 3 out of 99 works are written for

marimba with electronics, which is 3% of the total number. By examining the ten

sets of highlighted numbers (see each row “total” in table 4), a result of

approximately less than 5% of works in the suggested literature lists are written

for marimba and electronics.23 It is clear that solo works for marimba and

electronics play a relatively small part in marimba performance.

The sum of the numbers listed under the column “solo with electronics” is

twenty-six. However, several works were listed in multiple literature lists. Only

12 works for marimba with electronics (see table 5) are included in the ten

suggested literature lists; 6 works appear multiple times and 6 works appear only

once.

Table. 5 Works Included in the Suggested Literature Lists and the Number of
Appearances

Title Year Composer Number

of App.
1 For Marimba and Tape 1982 Martin Wesley-Smith 5
2 Rimbasly 1992 Daniel McCarthy 5
3 Fabian Theory 1987 Nigel Westlake 3
4 Fertility Rites 1997 Christos Hartzis 3
5 Angels 1983 Gary Kulesha 2
6 Hangar 84 1998 Paul Bissell 2
7 Polytempus II 1979 Dary John Mizelle 1
8 Atamasco 1986 Christopher Stowens 1
9 Daydreams 1991 Philippe Boesmans 1
10 WarHammer 1999 Daniel McCarthy 1
11 The Alabados Song 2001 Paul Bissell 1
12 Crystal Butterfly 2002 Ben Wahlund 1
Total: 26

                                                                                                               
23  Except for UK (8.3%) and UT-Martin (6.1%).

19
 Two works that earned the highest number of appearance - “For Marimba

and Tape” (1982) by Martin Wesley-Smith and “Rimbasly” (1992) by Daniel

McCarthy – are the most well known works in this compositional format.

After examining the chronological list of compositions written for

marimba and electronics (table 1, 2, and 3) and works for marimba with

electronics that are included in the suggested marimba literature lists from ten

universities (table 4 and 5), two observations concerning the status of electronic

music in marimba performance should be addressed. First of all, electronic music

plays a very small role in the marimba repertoire. Secondly, it is evident that most

of the works written for marimba and electronics are unfamiliar to a majority of

percussionists. While the chronological catalog of compositions for marimba and

electronics in this study has ninety works, potentially many other works for

marimba and electronics exist but are excluded from this study, twelve

compositions of this type are included in the suggested literature from ten

university curricula.

The situation stated above might be explained by three factors. First of all,

electronic music was used in marimba performance much later than the other

musical forms, such as concerto and solo. The first work for solo marimba and

electronics in table 1 was written in 1978, which is thirty-eight years after the first

marimba concerto composed by Paul Creston in 1940. Consequently, performers

are not familiar with this type of composition as a genre. In addition, works

written for marimba and electronics often demand specific devices, software, and

technology to perform. In other words, performers have less control over the
20
selection of compositions due to the lack of proper knowledge or equipment to

perform the work, which results in infrequent performances. Consequently, only a

handful of works have obtained attention in this genre. Lastly, composers might

be unfamiliar with the four-mallet techniques used to play the marimba, resulting

in the creation of works that are not idiomatic for the instrument.

To summarize, the author suggests that a continuous effort to study and

promote electronic music in marimba performance will be welcomed by the

percussion community. This study and its related activities respond to this desire

in several ways: commissioning a new work for solo marimba and electronics by

an established composer; increasing the number of appearances of electronic

music through the world premiere, subsequent public performances, and a

recording of “Flux”. Furthermore, an examination and performance guide of this

work in chapter four and five will serve as a source for performers who wish to

study and perform this work. The ultimate goal is to increase the awareness and

the interest of performers, teachers, and students in performing music for solo

marimba and electronics.

21
 CHAPTER 3

BIOGRAPHY OF DR. MEI-FANG LIN

Educational Background

Mei-Fang Lin (林梅芳, 1973-), born and raised in Taiwan, who studied

composition on three continents over a decade, is a composer with a growing

reputation, an accomplished pianist, and a dedicated educator.

Born in Taichung, Taiwan, Lin was educated in Taiwan, and received her

B.A. in Composition and Theory from the National Taiwan Normal University in

1997, under the instruction of Yan Lu (盧炎), Ting-Lien Wu (吳丁連), and

Hwang-Long Pan (潘皇龍). She came to the United States in 1997, studying

electronic music with Scott Wyatt and composition with Guy Garnett, Zack

Browning, and Sever Tipei at the University of Illinois, Urbana-Champaign. Lin

received her M.M. in Composition from the University of Illinois in 2000, and

continued her Doctorate in Composition at the University of California at

Berkeley. While pursuing her Ph.D. with Edmund Campion and Edwin Dugger at

UC Berkeley, Lin was awarded a fellowship, the Frank Huntington Beebe Fund

for Musicians (2002-2003), from the Beebe Foundation, as well as the George

Ladd Paris Prize (2003-2005) from UC Berkeley to study in Paris, France, with

Philippe Leroux, at the Ecole Nationale de Musique et de Danse from 2002 to

2005.

Meanwhile, Lin was selected as one of only ten participants of the

yearlong computer music course, Cursus de Composition, at the esteemed musical

research institution, The Institute for Research and Coordination of

22
Acoustic/Music (IRCAM) in Paris, from 2003 to 2004. Her first work utilizing

live electronics, “Multiplication Virtuelle” (2004) for Percussion and Live

Electronics, was premiered at IRCAM’s annual Festival Résonances.

After three years of study in Paris, Lin returned to the United States and

completed her Ph.D. in 2007. She then taught as Visiting Assistant Professor at

the University of Illinois at Urbana-Champaign from 2007 to 2009. In 2009, Mei-

Fang Lin was appointed Assistant Professor of Composition and Theory at the

Texas Tech University, and currently resides in Lubbock, Texas.

Awards and Accomplishments

Lin’s works have attracted a great deal of attention in the United States,

Europe, and Asia. Her works have been performed by ensembles and groups

across the world, in cities including: Amsterdam (Nieuw Ensemble), Atlanta

(Bent Frequency), Berlin (Kammerensemble Neue Musik), Boston (Juventas,

Alea III), Bratislava (Melos-Etos), Buenos Aires (Armonia Opus Trio), Chicago

(Fifth House Ensemble, Chicago Ensemble), Dublin (Ensemble Concorde),

Freiburg (Ensemble Surplus), Lyon (Ensemble Orchestral Contemporain), New

York (Washington Square New Music Ensemble, North/South Consonance,

Yarn/Wire, Parnassus Ensemble), Paris (Ensemble Cairn), San Francisco (San

Francisco Contemporary Music Players, Earplay, Left Coast Ensemble), Taipei

(Contemporary Chamber Orchestra Taipei), as well as in many international

conferences and festivals.

Lin has won major composition prizes and commission grants from

numerous competitions and organizations, including: American Composers

23
Forum/LA Annual Composer’s Competition (2009), Fifth House Ensemble

Competition (2009), Commissioning Funds (2008), Messiaen Illuminated Festival

Commission (2008), American Composers Forum (2007), Seoul International

Competition for Composers (2007), Bourges Competition (2006, 2001), San

Francisco Arts Commission (2006), French Ministry of Culture Commission

(2004), Pierre Schaeffer Competition (2002), Luigi Russolo Competition (2001),

Taipei National Concert Hall SCI/ASCAP Student Commission Competition

(2001), Prix SCRIME (2000),  Taiwan Ministry of Education Commissioning

Fund (2000), and many others.

Major Influences and Philosophy

Western Influences

Lin received her musical education in Taiwan starting at a very young age.

While Eastern music and musical theory play a part in Taiwanese schools,

Western art music is central to the music education in Taiwan. Lin grew up

exposed mainly to Western music as a result.

Upon her arrival in the United States, Lin picked up another western

invention that was going to change the way she composed. She encountered

music technology, and began composing electronic music while studying at the

University of Illinois. As she explored the compositional techniques of electronic

music, Lin became aware of the immense potential of electronic music, especially

its capacity to produce sounds that are beyond the limitation of timbre and playing

techniques of acoustic instruments. In her writing, Lin treats the electronic

medium as an instrument with great possibility and flexibility, which is capable of

24
playing various musical roles. Her compositional process of creating electronic

music has always involved “active listening”24 and relying on intuition to shape

the most satisfying sound and timbre. In her works that involve live electronics,

Lin often infuses theatrical elements into her work to increase the tension of the

performance.

While studying in France, Spectral Music had a significant impact on

Lin’s viewpoint of music. In Spectral Music, pitch materials are derived from the

sound spectrum, while other musical elements such as “density, dynamics, spatial

position, particles, and spectral composition”25 are brought to the foreground. The

impact of Spectral Music and later Post-Spectralism has led Lin to re-examine the

priority of musical parameters in her music, and inspires her to adopt the concept

of “musical gesture” and “process,” as well as utilizing auxiliary elements such as

dynamics and articulations as principal organizational tools.26

As musical gesture frees Lin’s music from the confinement of pitches and

harmonic relationships, physical gesture in her works reinforces the expression of

visual and spatial aspects of the performance. Springing from her stage experience

as a pianist, Lin feels that the physical sensation that connects performer,

                                                                                                               
24
Beth E. Levy, Program Notes: Infinite Black by San Francisco
Contemporary Music Players (San Francisco, CA, October 2005), 5.

25  Viviana
Moscovich, “French Spectral Music: An Introduction,” Tempo,
No. 200, (April 1997): 22.
 
26  Mei-Fang Lin, telephone conversation with the author, July 2, 2011.

 
25
instrument, and music is inseparable from any musical performance.27 What

comes across at the end is the constant flow of energy and a sense of drama as the

spirit of her music in general.

Eastern Influences

While studying overseas, cultural awareness and identity became a bigger

part of her reflections. Lin had experimented with different approaches to

incorporate cultural elements into her music in the early stages of her

compositional career. However, unsatisfied with her attempts in combining

traditional Chinese folk songs with harmonic languages stemming from the

western common practice period, Lin was seeking to uncover a deeper meaning of

her cultural heritages and their influences on her as a composer. What she was

looking for is too profound to be portrayed by the superficial borrowing of

musical materials from traditional music. Indeed, she did not find her solutions

directly from Chinese music, but rather from Chinese philosophy and various

forms of theory and practice of the arts, which formed the guiding principles in

her musical thoughts and writings. In Lin’s music, Eastern influences are revealed

by an understanding of Lin’s experiences in Chinese theory and practices: I-Ching

(易經), Tai Ji Quan (太極拳), and Qi Gong (氣功).

Lin studied these theories through her college years in Taipei, Taiwan. I-

Ching, also known as the Book of Changes, is an ancient text that documents the

law of the nature and serves as the central theory and principle of Chinese

philosophy, social order, culture, and the arts. I-Ching consists of sixty-four
                                                                                                               
27  Ibid.  

26
hexagrams and each hexagram has a different pattern of six lines, either a broken

line, yin (陰), or a solid line, yang (陽). The concept of Yin Yang28 has been

applied to many forms of art, such as Chinese brush paintings, performing arts,

martial arts, and Tai Ji Quan. Through Lin’s study of Tai Ji Quan, she gained the

knowledge of Qi (氣), the continuous force of life, in practicing Qi Gong.29 Lin

states that Qi is the energy that connects individual movements and gestures of

Tai Ji Quan into a continuous, uninterrupted whole.30 She has incorporated the

concept of ”Qi” into a lot of her music. Whereas her works are clearly

sectionalized, they are always connected by a continuous energy that flows

through the entire work.

Qi has become a crucial concept in Lin’s work, and again it serves as a

medium to reinforce the spirit of Lin’s music: drama. While the continuous

intensity leads the music moving forward, its contrary quality, silence, interrupts

the flow aurally to increase tension and create dramatic moments. The tension and

release, sound and silence in Lin’s music owe much to the relation of time and

                                                                                                               
28  Yin and Yang refers to the opposite quality in the universe. Yin is the

passive, downward, dark, soft, feminine principle in the nature while Yang
represents the active, upward, bright, hard, masculine principle. For example, Yin
and Yang can be understood as female and male, water and fire, moon and sun,
earth and sky, so on and so forth. However, Yin and Yang does not exist solely by
themselves, but exist simultaneously as a whole. The relation of Yin and Yang is
contrary, yet co-existent and transformable.
 
29  Lin-Ni Liao, “Taiwanese Women Composer and Mixed-Music.

Multiplication Virtuelle by Lin Mei-Fang, Tien Nee by Chao Ching-Wen.” (paper

presented at the CEME-Electroacoustic Music Studies Asia Network Colloquium
Day, Central Conservatory of Music, Beijing, China, October 28, 2009).
30
Mei-Fang Lin, telephone conversation with the author, July 2, 2011.
27
drama that she learned from the traditional Taiwanese music Nan Guan (南管)

and Chinese Beijing Opera (京劇). For example, in Chinese Beijing Opera, the

tension reaches the climax at the time when a frozen gesture and ensuing silence

disrupt the motion and music. The movement and music then continue, as a relief

from the frozen moment, and drama is achieved by the vivid contrasts that happen

in time (sound and silence) and space (performer’s movement and the frozen

gesture). Consequently, the influences of Nan Guan and Chinese Beijing Opera in

Lin’s music rest in her compositional treatments of “time” and “tension.”

Other Experiences

Not only is she a composer, Lin is also an accomplished pianist and

conductor. Her talent can be heard in the recording, Music From SEAMUS Vol.

12, published by SEAMUS,31 where she performed her widely known solo work,

“Interaction” (2000) for Piano and Tape. Lin’s experience as a pianist enables her

to incorporate the concept of physical sensation in her work, and her experience

as conductor broadens her aural sensation via a continuous process of careful

listening, balancing the sound and timbre in the ensemble setting. Lin’s various

musical roles - composer, pianist, and conductor – gives her multiple perspectives

of music.
                                                                                                               
31  SEAMUS, Society for Electro-Acoustic Music in the United States, is a

non-profit organization for composer, performer, educator, and music of all styles
that involve electronic music. The recording released each year is a collection of
works voted as the “best of show” by the attendees of SEAMUS National
Conference. “Interaction” for Piano and Tape is included in SEAMUS Vol. 12,
which was published in 2003. For Lin’s other recordings, see table A2 and A3 in
appendix. SEAMUS, “SEAMUS CD,” SEAMUS Online, http://www.seamuson
line.org/?page_id=68 (accessed June 11, 2011).
 
28
 Through Lin’s study of I-Ching, Tai Ji Quan, Qi Gong, and Nan Guan,

Eastern philosophies have nourished her musical thoughts and ideas. Educated in

Taiwan, the United States, and France, Western musical trainings have

established and broadened her musical languages and techniques. These diverse

influences are manifested through two central concepts in Lin’s compositional

philosophy: drama and musical gestures, which contribute significantly to Lin’s

music.

29
 CHAPTER 4

AN EXAMINATION OF "FLUX"

“Flux” for Marimba and Electronic Tape was written in 2011 by Mei-Fang

Lin. This work is seven minutes and eighteen seconds in length, and requires a 4.3

octave marimba (A2 to C7) to perform. The score and files are so far distributed

independently, thus performers who are interested in performing this work should

contact the composer directly (see appendix for contact information) to obtain the

music.

In general, marimba and electronics each have a very unique musical

character. While compositions for marimba are often pitch-oriented, electronic

music embraces a wider musical texture that represents a sound-mass.32 In “Flux,”

neither marimba nor electronics has the dominant musical role; this work intends

to fuse the sound of the marimba and electronics into a distinct sound experience,

by utilizing similar pitch materials and the simultaneous pace of the marimba and

electronic part.

Compositional Technique: Electronic Part

“Flux” consists of three sections (see table 6), which are sectionalized

according to the character and compositional techniques of the electronic part.

The two major techniques that determined the major sections of the electronic part

are time-stretching and granular synthesis.33

                                                                                                               
32
Mei-Fang Lin, telephone conversation with the author, October 9, 2011.
33
Mei-Fang Lin, interview by author, Tempe, AZ, September 22, 2011.
30
Table 6. Three Sections of “Flux”

Marimba Part Electronic Part Length

Section 1 m. 1 – m. 28, beat 2 0’00” – 2’18” 2’18”
Section 2 m. 28, beat 3 – m. 94 2’18” – 5’00” 2’42”
Section 3 m. 94 – m. 146 5’01” – 7’18” 2’18”

In the first section of “Flux,” the original sound materials (recorded from

string instruments) were analyzed, and then re-synthesized by a computer based

on the harmonic series of the sound materials. The synthesized sounds are then

time-stretched, and appear in multiple layers that fade in and out through the first

section. Granular synthesis is the main technique that was used in the second

section. In the process of composing the second section, Lin used several sounds

recorded from string instruments and broke each of them into extremely small

pieces called “grains.” These grains were looped at different speeds, transposed,

and recombined to create new sounds. Granular synthesis allowed Lin to create

tremendous amount of sounds, and select those that are desirable to her. In the

third section, Lin used both “time-stretching” and “granular synthesis,” along with

other techniques in creating a more sophisticated texture.

Compositional Technique: Marimba Part

Pitch Material and Subsections

The pitch material that Lin used in the marimba part is mainly derived

from the harmonic series, particularly a whole tone scale extracted from the 7th

harmonic to the 11th harmonic (see figure 1). Whole tone scale is used as the

primary pitch material throughout the work, and is frequently augmented by the

addition of other pitches.

31
 !
# # %# #
! # $# #
#
1 2 3
# #
4 5 6 7 8 9 10 11 12
" #
#

Figure 1. Harmonic Series Based on C2 as Fundamental

Two whole tone scales (WTS), C-D-E-F♯-G♯-A♯ (WTS 1), D♭-E♭-F-G-

A-B (WTS 2), and its combination (chromatic scale) are arranged as primary

pitch materials in each main section. The pitch materials are also presented in

various forms, such as ascending scalar figures, descending scalar figures,

chromatic scales, arpeggios, polyrhythms, and disjunct linear motion in each

subsection that is defined by the purposeful change of figure, pitch material, or

function of the passages (see table 7).

32
 Table 7. Subsections of “Flux”
Subsection Measure Function Primary Pitch Materials Additional Pitches Main Figures

1a 1-15, beat 1 Intro. All 12 pitches Descending scalar figure (1-8)

Disjunct linear motion

1b 15, beat 2 - 18 Transition WTS (1) CDEF♯G♯B♭ E♭B Arpeggio (15-16)

Ascending scalar figure (17-18)

1c 19-28, beat 2 WTS (1) CDEG♭A♭B♭ Part of WTS (2) Ascending scalar figure
C♯E♭FGAB Descending line in the top voice

2a 28, beat 3 – 35, WTS (2) D♭(C♯)E♭FGAB WTS (1) Scalar figure
beat 3 CDEG♭A♭B♭

33
2b 35, beat 4 – 46, WTS (2) D♭(C♯)E♭FGAB DE Ascending scalar figure with overlapping
beat 3 phrases

2c 46, beat 4 - 62 WTS (1) CDEF♯G♯B♭ Part of WTS (2) Scalar figure, arpeggio, polyrhythm
FGAC♯

2d 63 – 94, beat 3, Bridge WTS (1) CDEF♯G♯B♭ (1) Disjunct linear motion (66-80)
2nd 16th note WTS (2) D♭(C♯)E♭(D♯)FGAB (2) Chromatic scale (81-88)
(3) Combination of (1) and (2) (89-94)

3a 94, beat 3, 3rd Repeating Chromatic scale (part of WTS 1+2) Disjunct and conjunct linear motion
16th note – 104 Patterns DE♭EFF♯GA♭AB♭B

3b 105 - 116 Transition Chromatic scale (WTS 1+2) Roll

CC♯DD♯EFF♯GG♯AA♯B Ascending scalar figure

3c 117- 146 Climax WTS (1) CDEF♯(G♭)G♯(A♭)B♭ Part of WTS (2) Roll, arpeggio, scalar figure, disjunct
C♯D♯FGB linear motion
 For example, after the opening roll section (1a), in mm. 15-16, the whole

tone scale (WTS 1, C-D-E-F♯-G♯-B♭), with additional pitches E♭ and B, are

arranged as arpeggios that scatter over two octaves (see figure 2).

 

 
          
      




  
         

  
 


     
 


 
  



 


          




  
Figure 2. Flux,
 mm. 15-16
                     
      
   


Along with mm. 17-18, this passage (1b)
 serves as a transition to a


subsection (1c) that uses the same whole tone scale (WTS 1, C-D-E-G♭-A♭-B♭)



 
                           
as primary pitch material,
  with additional pitches from WTS 2. Although the pitch

material
remains the same, it is presented differently,

 as an ascending scalar figure

(see figure
 3) throughout

the entire subsection

1c.
              
         
               
       
Overall, after the introduction, the first section (subsections 1b and 1c)


primarily uses WTS 1 as pitch material, and features the primary scalar figure of
 


this work
 to establish the flow of the music with several main elements before
     
     
                                    
moving

to section two that increases the complexity of figures, pitches materials,

rhythm, and texture.



34


                                          
    

 



                                
  
   

  
 

                               
  


 


Figure 
3. Flux,
  mm.  23-24                     
         
In section two, subsections 2a and 2b were both based upon WTS 2,
  
 


D♭(C♯)-E♭-F-G-A-B, with fragments that consist of or include additional pitches.


While section
   2a
 (see
 figure
   4)
 features
   a series
  of
  descending
      scalar
  figure,
   
"       
 


section 2b (see
 figure 8)switches




 
 to an ascending scalar figure
 with
 overlapping


      
phrases



    
 
and rapidly changing pace to create layers of linear motion and a more

  

    
complex texture (see the discussion


 about
   octave
 
 displacement
 andtable
 8).

 !


  


                          



   
   



                            


Figure 4. Flux, mm. 29-32

   
                           
    


 

35
  



 
 
         



 In section 2c, the pitch material is simply based

 on WTS 1, C-D-E-F♯-G♯-
!



 

                         
B♭. However, it was again presented in various formats, such as a polyrhythm in
 
  

  
two voices (see figure 5), ascending scalar figures, descending

 scalar figures, and

arpeggios,
 to continue

 the flow with

 constant variations of appearance and


                
         
texture.
    

  







 
              

    



        


 
   





          
Figure 
5. Flux,
  mm.54-55
                  
  
  

Section 2d hints the new figures and materials that frequently reoccur in

the third section,

  such as
chromatic scaleand
 disjunct linear motion.

In mm. 66-

              
  
 
75, the repeating pattern begins with a three-note figure with disjunct motion, B♭-

    


(C♯)-E-F♯, (see figure 6, m. 66). The remaining nine notes of a chromatic scale
 

are then gradually
  introduced
   while
 the pattern repeats
  (see
 figure 6). A pitch
  or

 


  
 
  
two
pitches were added each repetition, to build the complete phrase in mm. 74-
  
 


  
75. Later in this section, the pitch material is arranged as

fragments of chromatic

scale, or a combination of disjunct linear motion and chromatic scale.

36
Figure 6. Flux, mm. 66-75

The three subsections in the third section each have its function:

establishing pattern (3a), increasing intensity and foreshadowing the upcoming

materials (3b), and reaching the climax of the work (3c). The pitch materials and

main figures in the third section stem from the previous materials; the mixed

materials and figures create a more complex texture of the third section, which

corresponds to the texture of the third section of the electronic part that combines

the musical character from both previous sections.

37
 After examining the primary pitch materials in the marimba part (see table

7, “primary pitch material”), the observation shows that the primary pitch

materials for each of the three sections are mainly based on: WTS1 in section one,

WTS2 in section two, and its combinations (chromatic scale) in section three. The

approach is similar to the use of the compositional techniques in the electronic

part, which emphasize time-stretching in section one, granular synthesis in section

two, and combining both techniques in section three. It is clear that Lin arranges

materials of both parts with a similar approach in a large scale, that is, she

expands the use of materials with a simultaneous pace by utilizing specific

materials in section one and two, then combining the previous materials in the last

section.

Compositional Ideas of “Flux”

As Lin’s compositional philosophy expresses that pitch, melody, harmony,

and tonality no longer serve as primary musical elements in her work, her

compositional techniques are used to support and achieve the idea of her music

rather than conventional musical goals, such as those used in tonal writing. In

“Flux,” Lin utilized compositional devices and techniques to achieve the two

central ideas of this work: a continuous flow like that experienced by the

composer in practicing Tai Ji Quan, and unpredictability in which she intends to

create through music that which is beyond human beings’ capability to perceive

and anticipate.

38
 As the term “flux” is defined as “an act of flowing, a continued flow, or a

state of continuous change,”34 the title “Flux” represents the central idea of this

work: a continuous flow. Despite the multiple sections of this work, a continuous

flow throughout the entire work is mainly achieved through the use of running

scalar figures or arpeggios in the marimba part.

Lin chose scalar figures and arpeggios for two reasons. In the beginning of

the work, a four-note descending line in the electronic part hints at the primary

figure, scalar figure, in “Flux.” The descending line, G-F-E-E♭, appears firstly as

a roll in the marimba part (see figure 7), and later developed into scalar figures of

various lengths, pitch combinations, and directions.

 

 



 
 


 


         


          






   





    
      
                
    

 
   

  


Figure7. Flux, mm. 1-9



     
         much to the
In other words, the inspiration
 of utilizing
  scalarfigures owes
 
     
four-notes descending line at the beginning of the electronic
 part. The
 primary



    


      
pitch material used to construct scalar figures throughout “Flux” is the
whole tone
 
                                                                                                               
34
Definition in The Merriam-Webster Dictionary and The Merriam-
Webster Learner’s Dictionary.

    
   
         39    
 

 

 

     



        
       

      

  
scale extracted from the harmonic series, as discussed previously. In addition, by

utilizing a neutral role as scale and arpeggio (not in a particular mode or key, but

as a series of ascending or descending notes), Lin hopes to minimize the

possibilities of relating this work to a conventional sense of melody and tonality.

In addition to using certain elements, such as scale and arpeggio, to

prevent a close association with tonality, several rhythmic devices that Lin

utilized in “Flux” create music that is difficult to perceive in a conventional sense

of meter, rhythm, phrase, and time, hence the unpredictability.

Many studies that discussed meter, rhythm, time, and a human being’s

capability to perceive them in music agree that “memory and attention enable us

to anticipate the future.”35 Two interactive activities are involved: “extracting

invariant musical information (abstraction) and using that information to produce

expectancies in real time (generation).”36 The limitation of our capability of

“perceiving and anticipating” in music is beyond the scope of the study, and is not

discussed in this chapter. However, it is a concept on which “Flux” is based.

Rhythmic Devices

“Flux” is notated in 4/4 throughout the entire work, except for mm. 37 to

44, which is notated in 3/4. However, the purpose of a meter as 4/4 is only to

outline a performer-friendly metric framework for learning the duration of notes

                                                                                                               
35
Robert Erickson, “Time-Relations,” Journal of Music Theory 7, no. 2
(1963): 174.
36
Justin London, “Some Examples of Complex Meters and their
Implications for Models of Metric Perception,” Music Perception 13, no. 1
(1995): 62.
40
intended by the composer. The rhythmic complexity in “Flux” is far beyond the

conventional framework of 4/4, in several ways: inconsistent pattern (both

duration and ratio), lack of metric hierarchy, weakened metric structure, use of

polyrhythms, and rhythmic displacement.

Meter, Rhythm, and Pattern

The establishment of meter heavily relies on the interaction of meter and

rhythms, that is, metric hierarchy, and the regularity of pulse. For example, the

conventional way of grouping pulse in 4/4 is normally based on levels of

hierarchy, from sixteenth-note, eighth-note, quarter-note, half-note, to measure-

long unit, and its relation to each other.37 However, pulse is not organized in this

fashion in “Flux,” but grouped into phrases based on the desired length (duration)

and pace (ratio) of each of the repeating phrases. For instance, in mm. 35 to 46,

the passage begins at the fourth beat in m. 35, with a sixteenth-notes descending

scalar figure. In the next ten measures, the pace of the ascending scalar figure

changes five times, to septuplet (over two beats), triplet, septuplet, sixteenth

notes, and nine over the space of eight sixteenth-notes (see figure 8). It is clear

that the length and pace of the scalar figures fluctuate very rapidly, and are not

based on the conventional metric hierarchy found in 4/4 time, therefore creating

an inconsistent repeating pattern. In addition, each pattern begins and ends at a

different location within each beat and measure and avoids the conventional sense

of strong beat and down beat in 4/4 time.

                                                                                                               
37
Joel Lester, The Rhythms of Tonal Music (Carbondale, Illinois: Southern
Illinois University Press, 1986), 67-68.

41
 #


 



     

    
                

 
  

        



 



                           
 

   



 
 
 

 

                     
              


  


Figure
8. Flux, mm.


37-45

               
 
 The lack of metric hierarchy and the
 weakened metric
 structure
 result in
     
    


an ambiguous sense of meter to the listener. While the perceived sense of meter is



relatively

 weak, the scalar figures with higher number ratios38 (one-fifth and

          
 

higher) in slow tempo (♩=48) is extremely “ambiguous   and
  maybe perceived
 
as



      39 That
         
incommensurable.”
 is tosay,
 the listener
 is able to sense the pace of scalar

figures in relation to each other, but not in relation to the meter. They can only

hear the varying pace as “faster or slower” compared to the previous figure, rather

than hearing it as the way it is notated.

                                                                                                               
38
Erickson, “Time-Relations,” 178-179.
39
Ibid.
42
 A good example of an “incommensurable passage” can be found in mm.

131 to the end, where the overall effect of this passage is to create a series of

repeating patterns that gradually slow down (see figure 9), rather than a series of
&
repeating patterns
 with
 distinguishable ratios that
 fit

the framework of
4/4 time. In

 
 



   
                   
     


fact,

when listening to the

marimba part without reading the score, it is very

unlikely that the listener will

 recognize the notated meter and tempo of this work.



The unpredictability of music then forces the audience to “listen” rather than
 
 
 
 
 

“anticipate”
 the nextmusical
 movement based on the
musical information
 they
 
      
      
received.
 
         





 

          

     
    




 
  

              
 

        
  
   






 
 

             

  

 
      


Figure 9. Flux, mm. 131-136

43
 In addition to the varying appearances of scalar figures, polyrhythm and

rhythmic displacement are used to further expand the irregularity and

inconsistency of repeating figures.

Polyrhythm

While the majority of passages in “Flux” are based on monophonic style,

the running line splits into two voices in mm. 54 and 55 (see figure 5), with three

over two quarter-notes in the upper voice and five over four eighth-notes in the

lower voice. The resultant polyrhythm, three against five over two quarter-notes,

expands its irregularity by creating polyphonic texture to challenge a listener’s

capability of perceiving multiple paces simultaneously, shaking the already

weakened sense of meter in a new way, as well as reinforcing the unpredictability

of the music.

Rhythmic Displacement

In “Flux,” rhythmic displacement is used particularly when the repeating

figures are less irregular. For example, the scalar figure, G-F♯-E-D-C-B♭-(A-G),

is relatively consistent and recognizable in mm.57 to 59 (see figure 10); accents

are added but placed differently each time to increase the irregularity of the

repeating pattern.

44
 




 
            

          



        


 
   






                         
     
  
  



           
       

        



   



 


Figure 10. Flux, mm.

  57-59
 
 

        
 
     
  
  
  
  
In addition to the displacement of accent, rhythmic displacement is also





arranged by placing rests of varying durations between and within the repeating

patterns. In mm. 127 to 128 (see figure 11), the repeating pattern, F♯-B-DA♭,

repeats six times with identical pitches. However, the varying length of space

(rest) between and within the repetitions shifts the pattern away from landing on a

downbeat, strong beat, or the same location each time, slightly altering the shape

of the original pattern. Thus, even though the repeating pattern is aurally

recognizable, an irregular sensation is created by the displacement of notes within

the beat.
&

 



      

 
                
     


     


  


Figure 
11. Flux,
 
mm. 127-128 
 
 

   
        
     
 
          

45


 

          

     
    
 In “Flux,” the use of rhythmic displacement prevents phrases from

coinciding with the metric structure of 4/4 time, reinforcing the unpredictability of

the musical movement in this work.

Octave Displacement

Another format of displacement in “Flux” is octave displacement. An

example of octave displacement can be found in mm. 37 to 46 (see figure 8 and

table 8), where the repeating scalar figures overlap frequently. The length, the

location of each scalar figure within the beat, and the overlapping notes are shown

in table 8, where each scalar figure is listed by pitch regardless of its octave, and

the vertical lines between pitches signifying bar-lines. The pitch in brackets ([B]

in mm. 37 and 38) serves as both the end of a scalar figure and the beginning of

the next figure. Where two scalar figures overlap, and the [B] is placed an octave

below its original position in an ascending scalar figure. As the passage proceeds,

the overlapping occurs sooner, especially in mm. 39 to 41, and gradually drifts

away, back to a linear motion in m. 44. The overlapping figures create multiple

flowing layers, which serve as the main textural change of this subsection.

46
Table 8. Scalar Figures in mm. 37 to 46

m. 37 m. 38 m. 39
GABC♯DEFGA[B]|DC♯EFGA[B]C♯DE|FG
|BC♯(D)EFGA
BC♯(D)E|
m. 40 m. 41 m. 42
FGA
BC♯DEFGAB|C♯
DEFG|EFGAB
BC♯DEFGAB
C♯D|EFGABC♯DE(FGAB)|
m. 43 m. 44 m. 45
EFGABC♯
EGFABC♯D|EFG
C♯DEFGAB (D)EFG|AC♯ EFGAB (D)EFGAB
m. 46
EFGAB|C♯ GABC♯DEFGA

The pitches in parenthesis (in mm. 39, 42, 44, and 45) are also where

octave displacements occur, where the pitches are placed an octave higher or

lower within a scalar figure. Since the ascending scalar figures in mm. 37 to 46

remain in the same octave most of the time, the occasional octave displacement

and the overlap of patterns alter the texture vertically and horizontally, as well as

create a series of inconsistent and unpredictable patterns.

In “Flux,” constantly changing musical figures are used to create “flow”

(as shown in table 7). Texture changes not only alter the material or figures in

each subsection, but also create the unpredictability of macrostructure and

“continuous change,” on a larger scale.

47
 As discussed in this chapter, the compositional techniques applied in

“Flux” aim to achieve the two central ideas: the continuous flow and the

unpredictability of the music. The musical elements in “Flux” are simple and

straightforward. There is no hidden compositional device, as the materials remain

recognizable and the changes are always audible. However, Lin’s unique

compositional approaches and ideas turn the simple material into a unique work

that truly expresses her compositional ideas, and brings an interesting listening

experience to the audience and a challenging work to the performer.

48
 CHAPTER 5

PERFORMANCE GUIDE OF "FLUX"

Potential Performance Issues

Playing Techniques and Difficulty

The major figures in the marimba part of “Flux,” scalar figures and

arpeggios, are idiomatic to the marimba, thus technical issues are a relatively

small concern in this piece. It is the energy and the concentration this work

demand that challenge performers. “Flux” is approximately seven and a half

minutes in length, but the marimba part does not have a moment of rest

throughout the work’s entire duration. Secondarily, although the tempo (♩=48 /

♩=96) seems slow, the performer constantly plays eight or nine notes, sometimes

up to twelve notes per beat (or per two beats when ♩=96), in a scalar fashion that

frequently demands a very fast push-pull motion. The perpetual notes and figures

should be played as evenly and smoothly as possible, which is difficult to achieve

while playing with a fast push-pull movement and constantly changing sticking

patterns. Furthermore, the inconsistent repeating scalar figure throughout the

work requires the performers’ full concentration to play precisely. Overall, the

playing techniques involved in “Flux,” mainly scalar figures and arpeggios, are

idiomatic to the marimba, however, the challenge is to perform this work as

precise as one can to achieve the musical effect the composer intended to create.

Dynamics and Balance

The dynamic range of the marimba part in “Flux” falls between p and ff,

and the range of pitch in “Flux” focuses on the three middle octaves, C3 to C6, of
49
a standard five-octave range. Since the pitch range of instrument and dynamic

range in “Flux” both fall into the middle range of the marimba’s capacity, the

author suggests that the performer use a set of medium hard mallets that are

suitable for the middle range, and capable of bringing out the clean, bright tone

quality of the marimba. In the recording, the author used the Keiko Abe series

medium hard mallets40 manufactured by YAMAHA.

In general, the dynamic range of the electronic part is much wider than

that of the marimba. The volume of the electronic part, when notated at the same

dynamic level with the marimba, can easily exceed the volume of the marimba

and could take over the musical texture. To balance the volume of the two parts,

Lin suggests that the marimba should be properly amplified, according to the

acoustic situation of the venue.

Lastly, the electronic part emphasizes the continuity of sound, and the

absence of rhythmic elements in the electronic part greatly increases the difficulty

for performers to sense the time and notated tempo. It is nearly impossible to

accurately synchronize with the electronic part without using a metronome or

click track. Because the electronic part was not notated along with the marimba

part for visual cues, Lin provides a click track for “Flux” and suggests that

performers should use the click track for performance to ensure that the musical

events of the two parts are lined up as intended. However, while wearing an

earphone and listening to the click track, performers are not able to rely on their

                                                                                                               
40
YAMAHA MKA-05. The mallets the author used in the recording are
re-wrapped but have very similar hardness and tone quality to the original MKA-
05.
50
ear to adjust the balance. Thus, performers should adjust the level of amplification

and the balance carefully prior to the performance.

Performance Suggestions

Textural Changes

Although the electronic part features sustained sounds and involves few

rhythmic elements, the musical events of the two parts are sometimes

synchronized, not as rhythmic unisons, but as simultaneous textural changes. To

ensure that the musical events of the two parts are synchronized for those

“unison” moments, the author suggests that performers memorize those obvious

and audible textural changes (see table 9) in addition to aligning to the click track.

The awareness of changes will help performers react to the textural changes.

Table 9. Synchronized Textural Changes in “Flux”

Measure Beat/Note Minute/Second

m. 8 Beat 4, last eighth note 0’40”
m. 10 Beat 3, the dotted quarter note 0’50”
m. 17 Beat 1 1’21”
m. 27 Beat 2, dotted eighth note 2’12”
Beat 3, dotted eighth note 2’13”
m. 81 Beat 3 4’27”
m. 89 Beat 1 4’46”
m. 95 Beat 1 5’01”
mm. 117-124 Each chord change 5’56”- 6’15”

As previously discussed, “Flux” is a work that creates an ambiguous sense

of time. Yet ambiguous time can only be successfully achieved when the complex

rhythms in the piece are played precisely. It is challenging for performers to

remain unaffected by the click track and avoid emphasizing the metric frame of

51
4/4 time musically or with body language. However, performers should keep in

mind that every note is equally important, and should treat the repeating figure as

one continual line rather than breaking them into multiple phrases, as well as

avoiding an emphasis of particular notes or individual phrases in general.41

Roll

In “Flux,” the roll passages are often synchronized with the electronic

part’s dynamic, phrasing, and textural changes, creating a fusion between the two

parts into one musical setting. Therefore, performance considerations in blending

the sounds of the two parts should be discussed.

“Flux” begins with a continuous roll, with occasional grace notes and

ornaments inserted between the roll (see figure 7), as seen in m. 5 (last beat, the

repeating pitch G), m. 7 (second beat and the preceding grace notes to the fourth

beat), m. 8 (preceding grace notes to the second beat), and m. 14 (quintuplet and

triplet as ornamentation). It should be brought to performers’ attention that the

grace notes need to be heard clearly, without interrupting the flow of the

continuous roll. The range of the roll then expands gradually from mm. 8 to 14

(see figure 7 and 12), corresponding with the thicker texture of the electronic part.

In this roll section that lasts more than one minute, performers should carefully

plan the dynamic (including cresc. and decrese.) and speed of the roll, in order to

balance the dynamic level and intensity of the marimba part with the texture of

the electronic part.

                                                                                                               
41
Mei-Fang Lin, interview by author, Tempe, AZ, September 22, 2011.
52
         
 

   
 
  
   




     

  
      
 
      
    


   
  

 



    
 


    
      
          
       



        
       

  
    





 

 

Figure 12. Flux, mm. 10-14

Roll is only used in two other passages, mm. 114 to 115 and mm. 117 to

124 (see figure 13), to increase the intensity until the climax is reached. The

dynamic ff and the frequent dynamic changes (cresc. and decresc.) of the rolls are

utilized to reinforce the intensity and flowing energy of the passage. Performers
&
should also select a proper speed of roll and degree of dynamic changes in order


 
  
      
to blend the two

 parts into a flowing
 stream
 that pushes
 toward
 the pinnacle of
        

“Flux.”


 


      
         
    


 
  

 

 
 

  

 
   
           
      
 



   
     

 

Figure 13. Flux,

 mm.
 118-125
 


   
     
       
53
    


 





     
 Sticking

In “Flux,” sticking patterns are constantly changing due to the irregular

repeating figures, and the stroke motion is fast due to the large number of notes

found in most of the passages. The primary consideration in developing a sticking

approach should strive to maintain a continuous flow of music by (1) minimizing

the mallets’ range of motion to help performers play precisely and smoothly, and

(2) using consistent sticking patterns for repeating figures when possible,

especially at the beginning and the end of patterns, to eliminate unnecessary shifts

of body position. In the following two examples, the author is providing the

suggested sticking patterns related to the two scenarios mentioned above.

In figure 14, the disjunct linear motion largely increases the interval,

which means greater distances and movements for performers to make. To

minimize body movements and to avoid fast leaps of the mallets that might cause

undesired accents or attacks, performers should take advantage of the position of

all four mallets. For example, performers can use double strokes (4-442 for two

consecutive pitches, G-F) and double lateral strokes (1-2, 2-1, 3-4, or 4-3) instead

of alternating strokes requiring fast leaps of the mallets.

As seen in figure 15, the pitch and length of ascending scalar figures

varies throughout this passage. The suggested sticking intends to establish a

sticking pattern with the same mallet at the beginning (mallet 2) and the end

(mallet 4) of each repetition, to maintain a consistent sticking pattern and to avoid

frequent changes of the basic sticking and body position.

                                                                                                               
42
Four-mallet is marked 1-2-3-4, from left to right.
54
Figure 14. Flux, mm. 75-80, Suggested Sticking

Figure 15. Flux, mm. 107-112, Suggested Sticking

55
 In terms of specific sticking patterns that occur frequently in this piece,

several issues should be addressed.

The double lateral sticking pattern, 1-2-3-4 (see Figure 16), firstly appears

in m. 18 (the last four notes), and returns in the third section. Ideally, every note

should sound equal, in terms of dynamic, space between each note, and color, in

order to maintain a smooth pace and flow. However, due to the small interval of

the first two notes, the second note (B♭, played by the inside mallet of the left

hand) naturally tends to be softer than the first note (A♭, played by the outer

mallet of the left hand). The dynamic f and the fast speed of double lateral strokes

largely increase the difficulty of controlling the equal volume of two strokes

through the passage. Therefore, performers should be aware of the rotary motion

of the wrist that produces velocity and power for the inside mallet,43 and adjust

accordingly to gain a proper balance between two strokes of the double lateral

strokes.

Figure 16. Flux, m. 19

The same sticking pattern returns in mm. 124-127, with the same interval

and dynamic level, as well as wider intervals (fourth and sixth) and the increase of

                                                                                                               
43
Leigh Howard Stevens, Method of Movement (New Jersey: Keyboard
Percussion Publications, 1979), 35-36.
56
dynamic level (from f to ff). Performers should also give close attention to the

wrist rotary motion that occurs in this passage.

Similar issues of wrist rotary motion occur again in the last section of the

work, in mm. 129-134. A wrist rotation of the left hand that produces three

consecutive notes (marked as 2-1-2 in figure 17) serves to connect the ascending

and descending scalar figure. Performers will have to develop left hand rotary

motion strength to avoid uneven speed and volume of the three consecutive

strokes.

Figure 17. Flux, mm. 129-131, Suggested Sticking

Overall, the techniques involved in this work are not extremely difficult to

execute, but a full understanding of the musical goals and compositional ideas are

required to make proper musical decisions, as performers’ choice of sticking has

significant and direct impact on the phrasing and flow of this piece. The author

suggests that performers should master various types of strokes (especially double
57
strokes and double lateral strokes), stickings, and their combinations, and choose

those that are the most comfortable but still suitable for a true expression of the

musical ideas found in “Flux.”

58
 CHAPTER 6

CONCLUSION

Percussion, as a relatively new concert instrument44 that embraces

seemingly-unbounded possibilities for composers to experiment with, has

received growing attention from various composers. As a result, numerous solo

and ensemble works were composed in the twentieth century.

As art music and compositional techniques evolved and developed at a

rapid pace in the last century, today’s percussionists are encountering an

overwhelming amount of new literature written for all instruments, levels, and

genres. However, new works are successfully presented only with composers’ and

performers’ efforts to communicate with the percussion field, as seen in the NEA

commission project and other collaborations between performers and composers

as discussed in the first chapter. Following the example of these pioneers, this

study hopes to promote the existing literature for solo works written for marimba

and electronics, as well as expand the reach of percussion music by

commissioning, performing, examining, and recording a new work.

The commissioned work “Flux” for Marimba and Electronic Tape was

premiered by the author on November 20, 2011, along with the US premiere of

two works: “Chin Thoughts (琴想)” for Percussion Quintet (2005) by Ling-Huei

Tsai (蔡淩蕙) and “Una Foresta” for Solo Percussion (2011) by Jeff Suzda; and

two infrequently performed works by renowned composers: “Hiten-Seido III” for

                                                                                                               
44
As solo or chamber instruments in concert stage, rather than folk
instrument in traditional setting or ensemble instrument in orchestral setting.
59
Marimba Solo (1987) by Maki Ishii and “Alto Voltango” for Saxophone and

Vibraphone (1999) by Luis Naón. The intention of this recital was to bring new

works to American audiences, as well as to truly express the stories, ideas, and

goals of their compositions as revealed through the detailed discussions with the

composers while preparing for this percussion recital. Regardless of the genre or

style of the music, the ultimate goal of the recital, the commissioning of “Flux,”

and this study is to inspire performers to actively interact with composers,

audiences, and others in the field of percussion, in order to expose old and new

lesser known works, to promote percussion music, and to further expand the

literature for percussion music.

60
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64
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Additional Sources

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Repertoire, 1940-present.” Master Class at Zeltsman Marimba Festival.
Appleton, WI. July 2, 2009.

65
Meza, Fernando A. “Marimba 2010 International Festival and Conference:
Festival Schedule and Program.” Published in conjunction with Marimba
2010 International Festival and Conference at University of Minnesota,
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Levy, Beth E. “Infinite Black: Program notes” Published in conjunction with San
Francisco Contemporary Music Players Concert, San Francisco, CA,
October 2005.

Liao, Lin-Ni. “Taiwanese Women Composer and Mixed-Music. Multiplication

Virtuelle by Lin Mei-Fang, Tien Nee by Chao Ching-Wen.” Paper
presentation at the CEME-Electroacoustic Music Studies Asia Network
Colloquium Day, Central Conservatory of Music, Beijing, China, October
28, 2009.

66
 APPENDIX A

ALPHABETICAL LIST OF COMPOSERS’ WEBSITES

OR RELATED WEBPAGES OF WORKS IN THE

CHORONOLOGICAL LIST OF COMPOSITIONS

67
Alphabetical List of Composers’ Websites or Related Webpages

Abe, Keiko. “The Works for Marimba Composed by Keiko Abe.” Keiko Abe.
http://www.keiko-abe.com/englishindex.html (accessed June 29, 2011).

Amaral, Pedro. “Works.” Pedro Amaral. http://www.pedro-amaral.eu/works/

works.htm (accessed Sep. 14, 2011).

Andersen, Drake Ralph. “Selected Compositions.” Drake Ralph Andersen.

http://www.drakeandersen.com/music.html (accessed Aug. 20, 2011).

Argersinger, Charles. “List of works.” Charles Argersinger. http://www.charles

argersinger.com/List%20of%20Works/List%20of%20Works.htm
(accessed June 20, 2011).

Armstrong, Philip. “List of Compositions.” Philip Armstrong. http://www.p-

armstrong.com (accessed June 29, 2011).

Bartholomée, Pierre. “Catalogue: Instruments Solistes.” Pierre Bartholomée.

http://www.pierrebartholomee.com/catalog3.php#solistes (accessed Aug.
23, 2011).

Beglarian, Eve. “List of Works: Spherical Music.” Eve Beglarian. http://www.ev

bvd.com/spherical/index.html (accessed June 29, 2011).

Beverly, Thomas. “Sequoia.” American Music Center. http://www.amc.net/library

/compositions.aspx?CompositionID=348157 (accessed June 21, 2011).

Bissell, Paul. “Marimba: Marimba and Tape.” Go Fish Music. http://www.gofish

music.com (accessed June 20, 2011).

Blais, Jérôme. “Compositions.” Jérôme Blais. http://www.jeromeblais.ca/works/

(accessed June 12, 2011).

Bull, Stephen. “Ball the Jack.” Australian Music Center. http://www.australianmu

siccentre.com.au/work/bull-stephen-ball-the-jack (accessed Aug. 20,
2011).

Cary, Tristram. “Represented Artist: Tristram Cary-Works” Australian Music

Center. http://www.australianmusiccentre.com.au/artist/cary-tristram
(accessed Oct. 12, 2011).

Celona, John. “John Celona.” University of Victoria. http://finearts.uvic.ca/music/

contacts/faculty/Bios/jcelona.shtml (accessed Sep. 15, 2011).

68
Chamberlian, Donald. “Composer: Donald Chamberlian.” JOMAR Press.
http://www.jomarpress.com/chamberlain/chamberlain.html
(accessed June 20, 2011).

Choi, Kyong Mee. “Music.” Kyong Mee Choi. http://www.kyongmeechoi.com/

Main%20Site/MUSIC.html (accessed Aug. 20, 2011).

Demierre, Jacques. “Compositions,” Jacques Demierre. http://www.jacquesdemie

rre.com/compositions.html (accessed June 29, 2011).

Diegelmann, Udo. “Compositions.” Udo Diegelmann. http://www.udiegelmann.

de/werkdieg.html#Anagramm (accessed June 20, 2011).

Diemer, Emma Lou. “Ice Rhythm for Marimba.” American Music Center.
http://www.amc.net/library/composition.aspx?CompositionID=68404
(accessed June 21, 2011).

Gardner, Alexandra. “Ayehli.” American Music Center. http://www.amc.net/libra

ry/compositions.aspx?CompositionID=68467 (accessed June 21, 2011).

Eister, Garry. “Works: Chamber Music.” Garry Eister. http://www.eistermusic.

com/works.html#chamber (accessed Aug. 23, 2011).

Everett, Steven. “Compositions.” Steven Everett. http://music.emory.edu/COMP

UTER/Compositions.html (accessed Aug. 23, 2011).

d'Escriván, Julio. “Recent Compositions.” Musicencalve. http://www.musicaenc

lave.com/editores/juliodescrivan/CVjuliodescrivan.html (accessed Aug.
22, 2011).

Harchanko, Joshph. “Works: Electroacoustic Works.” Joseph Harchanko.

http://www.wou.edu/~harchanj/works.htm (accessed Sep. 16, 2011).

Harman, Chris Paul. “Select List of Works: Chamber Music.” The Living
Composers Project. http://www.composers21.com/compdocs/harmancp.
htm (accessed Aug. 22, 2011).

Hatiz, Christos. “Principal Compositions: Mixed Media.” Christos Hatzis.

http://homes.chass.utoronto.ca/~chatzis (accessed June 20, 2011).

Hauta-aho, Teppo. “List of Works: Electro-acoustic Works.” Finnish Music

Information Center. http://www.fimic.fi/fimic/fimic.nsf/WLWOR
?readform&comp=Hauta-aho,%20Teppo&cat=contemporary_-_classical
(accessed Sep. 16, 2011).

69
Hoyland, Vic. “Vic Hoyland-Works.” Universal Edition. http://www.universaledit
ion.com/composers-and-works/composer/323/worklist/?sort=0#page=0
(accessed Sep. 16, 2011).

Imai, Shintro. “List of Works.” Shintaro Imai. http://www.shintaroimai.com/

list_of_works.html (accessed Aug. 23, 2011).

Job, Lynn. “Music Catalog.” Buckthorn Studios. http://www.buckthornstudios.

com/index.html (accessed Aug. 23, 2011).

Kornicki, Steve. “Concert Music Performances & Recordings.” Steve Kornicki.

http://www.stevekornicki.com/concert.html#perform (accessed Aug. 22,
2011).

Kulesha, Gary. “Works: Electro-Acoustic.” Gary Kulesha. http://www.kulesha.

com (accessed June 20, 2011).

Lanza, Alcides. “Alcides Lanza.” McGill University. http://www.music.mcgill.ca/

~alcides/ (accessed June 12, 2011).

Ledroit, Christien. “Sample Works.” Canadian Music Center. http://musiccentre.

ca/apps/index.cfm?fuseaction=composer.FA_dsp_sample&authpeopleid=
60010 (accessed Sep. 16, 2011).

Lippe, Cort. “Biography: CV.” University at Buffalo. http://www.music.buffalo.

edu/faculty/lippe/index.shtml (accessed May 25, 2011).

Matalon, Martin. “Catalogue.” Martin Matalon. http://martinmatalon.com/?page_

id=104 (accessed June 20, 2011).

McCarthy, Daniel. “Alphabetical List and Program Notes.” Daniel McCarthy.

http://dmccarthycomposer.com/id34.html (accessed June 20, 2011).

McKenney, Thomas. “C:M.” C. Alan Publications. http://www.c-alanpublications

.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=CAPC&Pro
duct_Code=11350&Category_Code=MCD (accessed Sep. 16, 2011).

Menezes, Flo. “List of Compositions.” Flo Menezes. http://www.flomenezes.mus.

br/flomenezes/index_flomenezes.html (accessed June 30, 2011).

Meylan, Yves. “Musique & Hoerspiel.” Yves Meylan. http://www.yves-meylan.

com/musique.php (accessed June 30, 2011).

Mizelle, Dary John. “Music: Solo Marimba Music.” Dary John Mizelle.
http://www. mizelle.org (accessed June 20 2011).

70
Olia, Bijan. “Recent News.” Bijan Olia. http://www.bijanolia.com (accessed Aug.
23, 2011).

Oliveira, João Pedro. “Works: Liquid Bars.” João Pedro Oliveira.

http://www.jpoliveira.com/Site/Liquid_Bars.html (accessed June 20,
2011).

Oliveira-Bacheata, Petra. “List of Compositions: Electroacoustic Works.” Music

Center Slovakia. http://www.hc.sk/src/skladatel_diela.php?oid=240&lg
=en#electro acoustic%20works (accessed Aug. 22, 2011).

Osada, Moto. “Take the Six.” American Music Center. http://www.amc.net/librar

y/compositions.aspx?CompositionID=73963 (accessed June 21, 2011).

Patachich, Iván. “Metamorfosi I.” Editio Musica Budapest. http://www.kotta.info/

en/product/8771/PATACHICH-IVAN-Metamorfosi-I (accessed June 21,
2011).

Place, Timothy. “List of Works.” Timothy Place. http://electrotap.com/tim/music

(accessed Aug. 23, 2011).

Psathas, John. “Publications.” Promethean Editions. http://www.promethean-

editions.com/php/PubDetail.php?pubID=322&SSID=1&SSSID=5&Comp
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Rush, Stephen. “Nature’s Course.” C. Alan Publication. http://www.c-alanpublica

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Salazar, Diana. “Mixed Works.” Diana Salazar. http://www.dianasalazar.co.uk/

Diana_Salazar/Diana_Salazar___MixedWorks.html (accessed Aug. 24,
2011).

Schindler, Allan. “Compositions: Electroacoustic Works.” Allan Schindler.

http://ecmc.rochester.edu/allan/comp.htm (accessed May 25, 2011).

Sekhon, Baljinder. “Recent Works.” Baljinder Sekhon. http://www.sekhonmusic.

com/recentworks.html (accessed Aug. 23, 2011).

Sigal, Rodrigo. “My Work: Rimbarimba.” Rodrigo Sigal. http://www.rodrigo

sigal.com/ (accessed Oct. 12, 2011).

Stone, Carl. “Performance History: Rezukuja.” Carl Stone. http://www.sukothai.

com/rezukuja.html (accessed Aug. 22, 2011).

71
Thibault, Alian. “List of Works.” Société de musique contemporaine du Québec.
http://www.smcq.qc.ca/smcq/en/artistes/t/thibault_al/oeuvres.php
(accessed June 12, 2011).

Traux, Barry. “List of Works.” Barry Traux. http://www.sfu.ca/~truax/works.html

(accessed Aug. 21, 2011).

Ueno, Ken. “List of Compositions: Solo.” Ken Ueno. http://www.kenueno.com/

worklist.html (accessed June 29, 2011).

Wahlund, Ben. “Compositions.” Black Dog Music Studio. http://www.blackdog

musicstudio.com/composition.html (accessed Sep. 14. 2011).

Waldrep, Mark. “Music of Mark Waldrep.” Leisure Planet Music. http://www.leis

ureplanetmusic.com/composer/waldrep.htm (accessed Aug. 24, 2011).

Waldrop, Michael. “Music: Marimba and Classical Percussion.” Michael

Waldrop. http://www.michaelwaldrop.net/music.html (accessed Oct. 27,
2011).

Weller, Travis. “Work.” Travis Weller. http://stableunstable.com/work/index.php

(accessed May 25, 2011).

Wesley-Smith, Martin. “List of Works.” Martin Wesley-Smith. http://www.shoalh

aven.net.au/~mwsmith/chamber.html#index (accessed June 20, 2011).

Westlake, Nigel. “Percussion Works.” Rimshot Music. http://www.rimshot.com.

au/ (accessed June 21, 2011).

Wilson, Paul. “Compositions: Without Words.” Paul Wilson. http://www.somasa.

qub.ac.uk/~pwilson/site/Without%20Words.html (accessed June 20,
2011).

Wright, Maurice. “Compositions: Solo Music.” Maurice Wright.

http://www.mauricewright.org/Compositions.htm (accessed June 29,
2011).

White, Winton Yuichiro. “Music.” Winton Yuichiro White.

http://www.wintonwhite.com (accessed Aug. 23, 2011).

Zimmerlin, Alfred. “List of Works: Solo Instrument with Soundtrack or Live-

Electronic.” Alfred Zimmerline. http://www.alfredzimmerlin.ch
/werk-gat-e.html (accessed Oct. 12, 2011.)

72
Additional Resources

Boesmans, Philippe.
Esler, Rober. “Portfolio: Daydreams.” Robert Esler. http://robertesler.com/?p=159
(accessed Sep. 14, 2011).

Geay, Gerard.
Abe, Keiko. “Discography: Keiko Abe-Reveals the Essence of the Marimba.”
http://www.keiko-abe.com/english/disco/disco.html (accessed Aug. 20,
2011).

Ikebe, Shin-ichiro.
Abe, Keiko. “Works Debuted by Keiko Abe: 171.” Keiko Abe. http://www.keiko-
abe.com/englishindex.html (accessed June 22, 2011).

Morgan, Caleb.
GM Recordings. “Nancy Zeltsman: Woodcuts.” GM Recordings. http://www.gm
recordings.com/gm2043.htm (accessed Sep. 15, 2011).

Reibel, Guy.
Durand-Salabert-Eschig. “Instrumental Music: Percussion.” Durand-Salabert-
Eschig. http://www.durand-salabert-eschig.com/english/catalogues_genre.
php?act=9 (accessed Sep. 16, 2011).

Smith, Peter.
AllMusic. “The Wooden Branch: Percussion Group The Hague.” AllMusic.
http://www.allmusic.com/album/the-wooden-branch-w137040 (accessed
Aug. 22, 2011).

Stephen Vitiello
AllMusic. “Scratchy Marimba.” AllMusic. http://www.allmusic.com/album
/scratchy-marimba-r479205 (accessed Oct. 12, 2011).

73
 APPENDIX B

LIST OF WORKS BY MEI-FANG LIN

74
 Table A.1. List of Works by Mei-Fang Lin
Year Title Instrumentation Commissioner
2008 Friction Flute and viola Earplay New Music Ensemble, San
Francisco, CA
2008 L’Âme en Bourgeon Soprano and piano ChamberBridge Ensemble, San Francisco, CA

2008 Mistress of the Labyrinth Piano solo Chiang Kai-Shek Cultural Center, Taiwan

2008 Figurations Electronic tape University of Illinois Experimental Music

Studios, Urbana, IL
2007 Yarny/Wiry 2 Pianos and 2 percussion Yarn/Wire Ensemble, New York, NY
2007 Project Remix Flute, oboe, clarinet, and double bass Left Coast Chamber Ensemble, San Francisco,
CA
2005 Souvenir d’une Fée Amplified violin with reverb

75
2005 L’Image Reconstituée Flute, clarinet, violin, cello, and piano

2005 Le Chemin Caché Recorder, flute, oboe, violin, 2 guitars, and 2 Ecole Nationale de Musique et de Danse à Blanc-
pianos Mesnil, Blanc-Mesnil, France
2004 Multiplication Virtuelle Percussion and live electronics

2002 In Between Alto saxophone SCI/ASCAP Student Commission Competition

2001 Time Tracks Flute/piccolo, oboe, clarinet/bass clarinet, Contemporary Chamber Orchestra, Taipei,
bassoon, trombone, percussion, piano, violin, Taiwan
viola, cello, and double bass
2001 About to… Viola, cello, harp, and piano
2001 Interaction Piano and electronic tape University of Illinois Experimental Music
Studios, Urbana, IL
 Table A.1 Continued

Year Title Instrumentation Commissioner

st
2000 Disintegration Piano solo 21 Century Piano Commission Competition,
Urbana, IL
2000 Internal Landscape Electronic tape
1999 Fluorescent Orient Orchestra
1999 Ascension Electronic tape
1998 Shadow? Mirror? Ney! Clarinet and trombone
1997 Journey to the West 2 Pianos Rolf-Peter Wille/ Lina Yeh Piano Duo, Taipei,
Taiwan
1996 Silence, Competition, Climate Flute, oboe, clarinet, trumpet, percussion,
piano, violin, and cello

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1995 Four Movements for Clarinet and Clarinet and piano
Piano
1994 Theme and Variations Violin and piano

Source: Mei-Fang Lin, e-mail message to author, July 3, 2011.

Note: Works in progress are not included in the list.

 APPENDIX C

DISCOGRAPHY OF MEI-FANG LIN  

77
  

Table A.2. Discography of Mei-Fang Lin

Album Title Label / Number Work Recorded

Prix SCRIME 2000 INA/GRM (France) Internal Landscape for electronic tape

Origins University of Illinois Experimental Music Interaction for piano and tape by Mei-Fang Lin
Studios, EMS-2001 (US)

Accademia Musicale Pescarese, 2/3 AMP-2002 (Italy) Interaction for piano and tape by Mei-Fang Lin
Concorso Internazionale Di
Composizione Elettronia “Pierre
Schaeffer”
Music from SEAMUS, Vol. 12 SEAMUS, EAM-2003 (US) Interaction for piano and tape by Mei-Fang Lin

University of Illinois Experimental Music EMS-2008 (US) Figurations for electronic tape

78
Studios 50th Anniversary
Aurora Australis: Asia Pacific Festival 2007 Atoll Record, ACD 113 (New Zealand) Disintegration for solo piano

Tone Builders Carrier Records-2010 (US) Yarny/Wiry, for 2 pianos and 2 percussion

Source: Mei-Fang Lin, e-mail message to author, July 3, 2011.

 Table A.3. List of Recordings with Mei-Fang Lin as Pianist

Album Title Label / Number Work Recorded

Banjaxed Capstone Records CPS-8697 (US) Banjaxed for voice, violin, piano, drum set and
computer-generated sounds by Zack Browning
Impact Addiction for violin, piano, drum set and
computer-generated sounds by Zack Browning

Origins University of Illinois Experimental Interaction for piano and tape by Mei-Fang Lin
Music Studios, EMS-2001 (US)

Accademia Musicale Pescarese, 2/3 AMP-2002 (Italy) Interaction for piano and tape by Mei-Fang Lin
Concorso Internazionale Di
Composizione Elettronia “Pierre Schaeffer”

79
Music from SEAMUS, Vol. 12 SEAMUS, EAM-2003 (US) Interaction for piano and tape by Mei-Fang Lin

Boundaryless Music – International Computer ICMC – CD2003 Aeolian Harp for piano and tape by Heinrich Taube
Music Conference 2003

David Rakowski: Martian Counterpoint Albany Records-2004 (US) Cereberus, triple clarinet concerto with chamber
orchestra by David Rakowski

Source: Mei-Fang Lin, e-mail message to author, July 3, 2011.

 APPENDIX D

LETTER OF PERMISSION

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81
 APPENDIX E

CONTACT INFORMATION OF MEI-FANG LIN

82
Dr. Mei-Fang Lin

Email: [email protected]

Assistant Professor of Composition

Texas Tech University

School of Music, Box 42033

Lubbock, TX 79409-2033

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 APPENDIX F

A RECORDING OF “FLUX” FOR MARIMBA AND ELECTRONIC TAPE

[Consult Attached File]

84
 The attached audio recording was recorded on November 20, 2011, the

premiere performance of “Flux.”

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 APPENDIX G

PROGRAM NOTES OF “FLUX”

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 “Flux” was commissioned by percussionist Yi-Chia Chen. The piece

continues an ongoing interest of the composer in pursuit of musical continuity

through a constant flow of energy throughout the piece. A big part of the

electronic sound was derived from analysis/resynthesis and granular synthesis.

The acoustic writing itself incorporates many similar concepts and techniques to

reflect the same processes used in the electronic part.

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