Adam Bell | Brunel University (original) (raw)

Papers by Adam Bell

Research paper thumbnail of Two-Slit Experiments: Partitioning, indeterminacy and initial research into the use of point gestures to determine macro- and micro-level parametric assignments

Two-Slit Experiments is for solo piano and received its world premier by Ian Pace at the City Sum... more Two-Slit Experiments is for solo piano and received its world premier by Ian Pace at the City Summer Sounds Festival at City University, London on the 5th June 2015.

Composed in 2010, Two-Slit Experiments (TSE) takes as its principal source of material(s) a pictorial representation of the two-slit experiment. The score of this work can be found here:

https://adambellcomp.files.wordpress.com/2015/10/finalscore-16-10-13-full-score.pdf

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Research paper thumbnail of Probability Interpretation, for cello and bass (2009)

An analysis of my 2009 work Probability Interpretation.

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Thesis Chapters by Adam Bell

Research paper thumbnail of Appendices, Bibliography, Discography

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 17. Conclusions

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 16. Objects 7

Quantum Music - Towards a unified aesthetic, 2019

As will be shown, Objects 7 applies similar methods of point gesture superimposition and distribu... more As will be shown, Objects 7 applies similar methods of point gesture superimposition and distribution as those found in Objects 5 and 6 but on a much larger scale. With the highly reduced and sparse aesthetic approach found in the most recent works from Objects 3.1 onwards and most acutely in Objects 5 and 6, when applied in this work the resulting sonic outcomes exhibit a high degree of invariance across the totality of the work, however when one looks more closely one will see a high degree of internal variance in the content for each of the ensembles present within a given section or bar in the score.

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Research paper thumbnail of Quantum Music - 15. Objects 6.1 - 6.3

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 14. The work in context

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 13. Objects 5

Quantum Music - Towards a unified aesthetic, 2019

Originally intended to act as a framing device enveloping the four Paragraphs in Objects 4, Objec... more Originally intended to act as a framing device enveloping the four Paragraphs in Objects 4, Objects 5 contains the five words Christian Bök was unable to use, 'despite efforts to include them', in the five chapters (A, E, I, O and U) of Eunoia: parallax, belvedere, gingivitis, monochord and tumulus. The five studies in Objects 5 are initial attempts at superimposing micro-objects, with each of the works requiring bespoke systems to take into consideration the different amounts of 3-and 4-Pgs required to realise the pitch classes assigned to the studies.

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Research paper thumbnail of Quantum Music - 12. Objects

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 11. Objects

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 10. The Point

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 9. Objects 3.1

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 8. Form and content, etc

Quantum Music - Towards a unified aesthetic, 2019

The three sections below were initially intended as three stand-alone texts. However, through the... more The three sections below were initially intended as three stand-alone texts. However, through the process of writing them, it became apparent that they all shared a common thread, with the focus of each on the structures and methods used to promote equality between the constituent parts of sonic objects at both the macro-and micro levels of each work.

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Research paper thumbnail of Quantum Music - 7. Objects 2

Quantum Music - Towards a unified aesthetic, 2019

Objects 2: Four-Point Gestures, completed in late 2012, is in its total bar content one of the mo... more Objects 2: Four-Point Gestures, completed in late 2012, is in its total bar content one of the more extreme pieces I have written. As mentioned in the analysis of Objects: Object Distributions, the focus of my compositional research from that work onwards was in the formalisation and further refinement of systems of production and realisation that are derived using point gestures. Akin to a distillation or crystallisation process, this reduction of a work's fundamental compositional processes to point gestures had a significant impact on my aesthetic approach and the sonic outcomes in the works I was to create. The reasoning behind developing a point gesture-based compositional method was that it enables one to delineate several outcomes from a relatively small number of initial assignments, whilst simultaneously decreasing the need to employ random processes.

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Research paper thumbnail of Quantum Music - 6. On the mimetic in contemporary music

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 5. Objects: Object Distributions (2012), for solo double bass

Quantum Music - Towards a unified aesthetic, 2019

Objects: Objects Distributions was written between 2010 and 2012 for the double bassist and compo... more Objects: Objects Distributions was written between 2010 and 2012 for the double bassist and composer Ashley-John Long and is the first of my works to use the 'Objects' prefix. The work's constructive principles are similar to those employed in Probability Interpretation, Two-Slit Experiments and Entanglement, the difference being that from this work onwards there is a greater focus on how the systems used for the quantisation of micro-objects (for example, the vertical displacements of trichords and tetrachords within a bar) can be applied to systems governing the formation of macro-objects (the global ordering of t-sigs or sections, for example).

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Research paper thumbnail of Quantum Music - 4. Notational strategies and the ever-elusive Utopia

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 3. Three proto quantum works

Quantum Music - Towards a unified aesthetic, 2019

Being the first pieces written, the three 'proto-quantum' works are the initial attempts at a qua... more Being the first pieces written, the three 'proto-quantum' works are the initial attempts at a quantum aesthetic. One of the main focal points for each of the works was to set about devising egalitarian constructive devices across all mediated parameters.

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Research paper thumbnail of Quantum Music - 2. Broad constructive principles

Quantum Music - Towards a unified aesthetic, 2019

After formulating the conceptual outline and basics of the work to be written, i.e. the instrumen... more After formulating the conceptual outline and basics of the work to be written, i.e. the instrumentation or technical-aesthetic goals, I find delineating strategies for time signatures is an important early component of the compositional process. It is useful to define the space(s) in which the music will be situated, delineating the time-space parameters that will inform the methods by which the composition is realised. When these are in place, one can then check the outcomes against other parametric strategies formed in the pre-compositional process, such as impulse content, and test the validity of the projected outcomes within each time-space.

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Research paper thumbnail of Quantum Music - Towards a unified aesthetic 1. Introduction

PhD Thesis (Music Composition)

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Research paper thumbnail of Two-Slit Experiments: Partitioning, indeterminacy and initial research into the use of point gestures to determine macro- and micro-level parametric assignments

Two-Slit Experiments is for solo piano and received its world premier by Ian Pace at the City Sum... more Two-Slit Experiments is for solo piano and received its world premier by Ian Pace at the City Summer Sounds Festival at City University, London on the 5th June 2015.

Composed in 2010, Two-Slit Experiments (TSE) takes as its principal source of material(s) a pictorial representation of the two-slit experiment. The score of this work can be found here:

https://adambellcomp.files.wordpress.com/2015/10/finalscore-16-10-13-full-score.pdf

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Research paper thumbnail of Probability Interpretation, for cello and bass (2009)

An analysis of my 2009 work Probability Interpretation.

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Research paper thumbnail of Appendices, Bibliography, Discography

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 17. Conclusions

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 16. Objects 7

Quantum Music - Towards a unified aesthetic, 2019

As will be shown, Objects 7 applies similar methods of point gesture superimposition and distribu... more As will be shown, Objects 7 applies similar methods of point gesture superimposition and distribution as those found in Objects 5 and 6 but on a much larger scale. With the highly reduced and sparse aesthetic approach found in the most recent works from Objects 3.1 onwards and most acutely in Objects 5 and 6, when applied in this work the resulting sonic outcomes exhibit a high degree of invariance across the totality of the work, however when one looks more closely one will see a high degree of internal variance in the content for each of the ensembles present within a given section or bar in the score.

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Research paper thumbnail of Quantum Music - 15. Objects 6.1 - 6.3

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 14. The work in context

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 13. Objects 5

Quantum Music - Towards a unified aesthetic, 2019

Originally intended to act as a framing device enveloping the four Paragraphs in Objects 4, Objec... more Originally intended to act as a framing device enveloping the four Paragraphs in Objects 4, Objects 5 contains the five words Christian Bök was unable to use, 'despite efforts to include them', in the five chapters (A, E, I, O and U) of Eunoia: parallax, belvedere, gingivitis, monochord and tumulus. The five studies in Objects 5 are initial attempts at superimposing micro-objects, with each of the works requiring bespoke systems to take into consideration the different amounts of 3-and 4-Pgs required to realise the pitch classes assigned to the studies.

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Research paper thumbnail of Quantum Music - 12. Objects

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 11. Objects

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 10. The Point

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 9. Objects 3.1

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 8. Form and content, etc

Quantum Music - Towards a unified aesthetic, 2019

The three sections below were initially intended as three stand-alone texts. However, through the... more The three sections below were initially intended as three stand-alone texts. However, through the process of writing them, it became apparent that they all shared a common thread, with the focus of each on the structures and methods used to promote equality between the constituent parts of sonic objects at both the macro-and micro levels of each work.

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Research paper thumbnail of Quantum Music - 7. Objects 2

Quantum Music - Towards a unified aesthetic, 2019

Objects 2: Four-Point Gestures, completed in late 2012, is in its total bar content one of the mo... more Objects 2: Four-Point Gestures, completed in late 2012, is in its total bar content one of the more extreme pieces I have written. As mentioned in the analysis of Objects: Object Distributions, the focus of my compositional research from that work onwards was in the formalisation and further refinement of systems of production and realisation that are derived using point gestures. Akin to a distillation or crystallisation process, this reduction of a work's fundamental compositional processes to point gestures had a significant impact on my aesthetic approach and the sonic outcomes in the works I was to create. The reasoning behind developing a point gesture-based compositional method was that it enables one to delineate several outcomes from a relatively small number of initial assignments, whilst simultaneously decreasing the need to employ random processes.

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Research paper thumbnail of Quantum Music - 6. On the mimetic in contemporary music

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 5. Objects: Object Distributions (2012), for solo double bass

Quantum Music - Towards a unified aesthetic, 2019

Objects: Objects Distributions was written between 2010 and 2012 for the double bassist and compo... more Objects: Objects Distributions was written between 2010 and 2012 for the double bassist and composer Ashley-John Long and is the first of my works to use the 'Objects' prefix. The work's constructive principles are similar to those employed in Probability Interpretation, Two-Slit Experiments and Entanglement, the difference being that from this work onwards there is a greater focus on how the systems used for the quantisation of micro-objects (for example, the vertical displacements of trichords and tetrachords within a bar) can be applied to systems governing the formation of macro-objects (the global ordering of t-sigs or sections, for example).

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Research paper thumbnail of Quantum Music - 4. Notational strategies and the ever-elusive Utopia

Quantum Music - Towards a unified aesthetic, 2019

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Research paper thumbnail of Quantum Music - 3. Three proto quantum works

Quantum Music - Towards a unified aesthetic, 2019

Being the first pieces written, the three 'proto-quantum' works are the initial attempts at a qua... more Being the first pieces written, the three 'proto-quantum' works are the initial attempts at a quantum aesthetic. One of the main focal points for each of the works was to set about devising egalitarian constructive devices across all mediated parameters.

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Quantum Music - 2. Broad constructive principles

Quantum Music - Towards a unified aesthetic, 2019

After formulating the conceptual outline and basics of the work to be written, i.e. the instrumen... more After formulating the conceptual outline and basics of the work to be written, i.e. the instrumentation or technical-aesthetic goals, I find delineating strategies for time signatures is an important early component of the compositional process. It is useful to define the space(s) in which the music will be situated, delineating the time-space parameters that will inform the methods by which the composition is realised. When these are in place, one can then check the outcomes against other parametric strategies formed in the pre-compositional process, such as impulse content, and test the validity of the projected outcomes within each time-space.

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Research paper thumbnail of Quantum Music - Towards a unified aesthetic 1. Introduction

PhD Thesis (Music Composition)

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