Archive for March, 2009

Sheng

Saturday, March 28th, 2009
Michael playing sheng.

Michael playing sheng.

        I’m currently working on a new orchestra composition that adds two Chinese instruments to the orchestra, the shēng and gǔzhēngThe sheng is a 3000 year old Chinese free-reed bamboo mouth organ. It reached Europe around 1777 with Pere Amiot, and its influence was so strong that it resulted in the invention of the reed organ, concertina, harmonica and accordion. I have been learning how to play the sheng since the summer of 2008, when I finally bought one in Taipei, Taiwan.  I have been interested in the instrument for 20 years, though I first learned about the Japanese version called a shō. I bought a modern 38 key chromatic jiàn sheng, which is a very versatile instrument. Being chromatic means it can play in any key and works well in western music as well as traditional Chinese. One of the things that I like about this instruments is it play chords like a piano. As a life long woodwind player I rarely get to play chords on my instruments so it is great to be able to. Another thing that is cool about this instrument is it makes sound when you breath out or in. So you can keep it making sound for a long time.

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String Theory

Tuesday, March 3rd, 2009

String Theory

On February 28th, 2009, the San Francisco Composers Chamber Orchestra (SFCCO) premiered String Theory, a unique guided improvisation composition. This piece uses a graphical score inspired by the revolutionary branch of theoretical physics known as string theory.

String theory is a groundbreaking concept in theoretical physics that aims to reconcile quantum mechanics and general relativity into a unified quantum theory of gravity. It posits that all particles and forces in the universe are composed of tiny, vibrating strings. These strings, though initially considered one-dimensional oscillating lines, can also be conceptualized in terms of points or surfaces.

String Theory p.13

String Theory p.13


In my composition, I employ graphical notation to represent these strings, points, and surfaces, guiding the orchestra through improvisation. The piece culminates in a unification, symbolizing how string theory might eventually prove Einstein’s unified field theory, creating an elegant universe composed entirely of the music of strings.

One of the most exciting aspects of using guided improvisation as a compositional technique is that each performance is distinct, yet the overall composition remains recognizable. To illustrate this, I have recordings from both the dress rehearsal and the concert performance of String Theory for comparison.

Dress Rehearsal
Concert Performance
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