创作过程和方法
The first phase of composition became about freely playing with the patterns to see what would emerge. I started making diagrams and number lists to try and convert the patterns into music. The approaches I tried tended to mostly end up sounding very jarring and unnatural, which was not the aesthetic I was after. This piece isn't about revealing the hidden beauty of the numbers, but more of an experiment into stimulating musical creativity with complex patterns. Occasionally I would cook up a system for interpreting the moves which resulted in aesthetically pleasing patterns, which translated readily into a rhythm or a melody. These happy accidents quite often wound up as the recurring motifs you hear in the piece. go-paper At a certain point it became necessary to step away from the Go board, and to continue developing the materials I had in a more intuitive way. This involved envisioning the kind of journey I wanted the piece to go on, and trying to see the potential in the various chunks of rhythms, melodies and harmonies that I'd extracted from the Go board. There was a point about halfway through the process when listening to a Godspeed You! Black Emperor record prompted me to trash most of what I had, and question whether I really knew anything about long-form composition at all. In fact, short digression: there's been many times during this process where I've felt like I really hit the edge of my abilities. It's great when something drives you to throw up your hands and say "I actually know nothing." Because it becomes necessary to learn, expand, and grow in order to move forward. Music is just music of course, and I hate talking about composing as if it's anything like going to war or nursing an ill relative or raising a child… But I think this composition has challenged me more than any before it.Anyway, Godspeed's Allelujah! Don't Bend! Ascend! album was the catalyst which pushed me in the final direction, not because I wanted my work to sound like Godspeed, but because it made me realise something about sustaining interest for long periods of time. Developing a small amount of material very patiently and resolutely can be so much more effective than flittering between many contrasting ideas. The process then became about repetitively cutting material which was least interesting, and developing the remaining material in its place, sometimes in unexpected and exciting directions. It was more of a process of evolution than creation, as certain species of ideas died off and the stronger ones grew to take their place. A number of other things I was listening to also really influenced the sound; Talk Talk, John Adams, Mouse on the Keys, William Britelle, Flying Lotus, Sufjan's Age of Adz and a load of other stuff was buzzing around me at the time of writing. For the last few years I have been studying a PhD under the supervision of the exceptional Brisbane composer Robert Davidson, so his influence has infiltrated strongly, as well as the work of my peers in the PhD program, especially Leah Kardos and Thomas Green.The work eventually took shape as three main movements, each in a kind of ternary form, surrounded by a prelude and postlude. The first and last sections of each main movement are similar - sort of like variations of each other. These are always separated by a contrasting middle section which in most cases takes up somewhere a little more murky and uncertain, before returning to a new variation on the ideas of the first section. | Prelude (90bpm) | | Ia (144bpm) | Ib (96bpm) | Ic (144bpm) | | IIa (105bpm) | IIb (75bpm) | IIc (105bpm) | | IIIa (80bpm) | IIIb (100bpm) | IIIc (90bpm) | | Postlude (60bpm) |There are a few recurring motifs in the work. The long rhythmic motif based on variations and extensions of a basic 5/4 rhythm was pulled numerically from the go moves, and underpins a great deal of the rhythmic and melodic material in the piece. The most noticeable perhaps is the fast-moving theme in Ia and the patterns at the beginning of IIIa. There is also the lyrical melodic theme, which appears in its in original incarnation at the very end of the piece, in IIIc, but pops up in various disguises throughout. This theme was constructed using the positions of stones on the board at a particular point in the game to define the shape and harmonisation of the melody. The harmonic structure is fairly freeform - I've focused more on making the harmony work well locally, and pretty much ignored the idea of large-scale harmonic structure, ending movements in the same key as they started etc (I adopted this approach after reading research which showed that tonic resolution just isn't cognitively perceptible on such a long-term scale). However in place of that, I've approached tempos with a kind of classical attitude, in the sense that tempos tend to be related in whole-number ratios. For example, Movement 1 starts at 144bpm, changes to 96bpm (a metric modulation where the previous quaver becomes the new quaver triplet), and returns to 144. Relate this to pitch frequency ratios, and it is the rhythmic equivalent of modulating to the 5th, and back again, in classic sonata style.
  
  
【 在 shuusaku (檀溪安公·定林祐公·西明宣公) 的大作中提到: 】
:  油管有
:  Go Seigen vs. Fujisawa Kuranosuke (Score) - by Chris Perren
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