Quantum Music - 7. Objects 2 (original) (raw)

2019, Quantum Music - Towards a unified aesthetic

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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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 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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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 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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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 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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The observed and predicted spectrum of neutral chromium : Cr I

The spectrum of neutral chromium (Cr I) has been investigated in detail. It is basically a sixelectron system, exhibiting a very complex structure with its ground configuration 3d 54s. The low lying excited configuration is 3d 54p and the core excitation leads to 3d 44s4p. Further excitations of these configurations give rise to 3d 54d, 3d 44s2. In the past, a large number of levels have been reported without any satisfactory theoretical support. In the present work we have observed the spectrum of Cr on a 35 ft grating of our laboratory in the wavelength region 4800–5500 Å and have carried out configuration interaction (CI) calculations for above mentioned configurations. Known levels have been used to optimize the energy parameters of least squares fitted parametric calculations. These parameters were used to predict the unknown levels more precisely. Among 1014 energy levels, 652 levels are newly predicted (208 listed in the tables and 444 levels lying above 66500 cm–1 are available privately on demand).

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