Storyboard

Hello everyone! Below, I've written some information about the concept of my piece, and have tried to roughly storyboard what I intend to achieve! Please look it over at your leisure and let me know what you think!

For my contribution to the Telematics Ensemble concert, I plan to compose a piece of roughly ten (10) minutes in duration for vibraphone and live electronics. The title of the piece is “Echoes/Airwaves” (pronounced “Echoes Over Airwaves”). The title is reference to the shortwave “numbers stations” from which the piece derives its subject material. Remnants of the Cold War, numbers stations are shortwave radio broadcasts that take place outside of the legal broadcast frequency band for shortwave operators. While no nation has confirmed their meaning or purpose, it is universally recognized that these stations are a method of communication between intelligence agencies of various nations and their agents in the field.

In this process, messages undergo alphanumeric conversion, and are then further encrypted using modular arithmetic via random number generation. This random number generation is printed on a “one time pad” which is only distributed to the sender and the recipient of the message. One-time pad encryption is a system of encryption that is virtually unbreakable if the sender and receiver are the only individuals with access to the decoding technology. Numbers stations are further segmented into polytone and number stations. Polytone stations use synthesized frequencies to encrypt data burst transmissions, which can contain much more information than one-time pad functions.

I plan to incorporate Jordan Munson’s “Sine Language” software, in conjunction with Ableton Live/Logic, and the Jamoma “Toolbox” for Max/MSP/Jitter to generate random frequencies (such as those generated in polytone stations), to manipulate live audio from the vibraphone, and to manipulate sampled audio of numbers station recordings. These eerie recordings, made by amateur shortwave operators (or “hams”), are available free of charge for indiscriminate use via The Conet Project, a project operated by Irdial Records for the express purpose of recording and distributing numbers station recordings. I also plan to use Max/MSP/Jitter to manipulate video. I would like to have the live audio component gradually trigger random reveals from a black screen to an image of nuclear testing in the South Pacific, which I consider an enduring image of the Cold War. However, other such images could also be considered. This video manipulation could be done on-site, or telematically, via OSC technology.

Another intriguing element is the concept of random number generation. These random numbers could be integrated with Max/MSP/Jitter randomizing functions to produce both video and audio creation/manipulation. The Max “Drunk” object, in particular, which generates random numbers recursively in a given range, would seem to be a promising possibility for video manipulation, as well as relating the philosophical construct of the composition. Max/MSP/Jitter makes flawless random number generation a reality, and so this open compositional element can be seamlessly integrated into the texture.

The piece will be constructed of nine to ten (9-10) audio samples of numbers stations, which are of roughly one (1) minute in length each. The live vibraphone is given two to three (2-3) “phrase constructs” for each sample. These can be manipulated, recombined, and improvised around to create a sparse, eerie, improvised texture. Generation of compositional material will be specific and endemic to the given sample being played, but these elements can be reused throughout the piece to give a feeling of continuity. The vibraphonist is encouraged to play sparsely, as the electronics manipulator will manipulate their playing extensively. The electronics controller will have control over sample advancement and manipulation, although control can be relinquished, via motion control devices, to the performer.