osmosis/zymosis: the integration of eastern mediterranean

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Osmosis/Zymosis: The Integration of Eastern

Mediterranean Music Elements in Contemporary

Composition

Andronikou, Michalis

Andronikou, M. (2013). Osmosis/Zymosis: The Integration of Eastern Mediterranean Music

Elements in Contemporary Composition (Unpublished doctoral thesis). University of Calgary,

Calgary, AB. doi:10.11575/PRISM/27234

http://hdl.handle.net/11023/688

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UNIVERSITY OF CALGARY

Osmosis/Zymosis: The Integration of Eastern Mediterranean Music Elements in

Contemporary Composition

by

Michalis Andronikou

A THESIS

SUBMITTED TO THE FACULTY OF GRADUATE STUDIES

IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE

DEGREE OF DOCTOR OF PHILOSOPHY

DEPARTMENT OF MUSIC

CALGARY, ALBERTA

APRIL 2013

© Michalis Andronikou 2013

ii

Abstract

Osmosis/Zymosis is a work of twenty minutes duration, for a mixed chamber ensemble

(augmented “Pierrot ensemble”) comprising flute, clarinet, violin, violoncello, piano and

percussion. The underlying concept of the work is based on the integration into

contemporary Western music practice of musical gestures derived from the Eastern

Mediterranean tradition. The title consists of two scientific terms used to describe

chemical and biological processes: “Osmosis” refers to the gradual absorption of one

solution by another, and “Zymosis” refers to both the process of fermentation and the

development or the spread of an infection.

These Greek words are also useful for the description of the blending of cultures

and especially for individuals who face displacement or immigration. A related concept

in anthropology would be the rite of passage, a ritualistic event that marks a person’s

transition from one status to another. A music composition that incorporates elements

transferred from one culture to another is even more than that. Both the process and the

resulting work are steps towards musical maturity and openness. In many ways the

integration of music elements from one culture into another is a glimpse to the future,

which could be helpful in bridging cultural and aesthetic differences.

In this compositional project, a clear, balanced and intuitive combination of

elements from both cultures is attempted. One of the things that I have learned through

this experience is that this path is always inviting and endless for anyone who is willing

to take one more step.

iii

Acknowledgements

Although a music composition seems to be a very personal project, the compositional

process of this particular work is far from this concept, since it came as a result of a

systematic collaboration with my supervisor Dr. David Eagle. His significant role in

advising and guiding my studies from the beginning of the program will always be a

great example for me. Both as a composer and an educator, Dr. Eagle influenced my

work and thinking in a unique way, and therefore I am very grateful for his approach,

guidance and supervision.

Furthermore, Dr. Friedemann Sallis, Prof. Allan Bell, and Dr. Laurie Radford

played a key role in my studies and influenced me in many different ways. To mention a

few of them, Dr. Sallis helped me immensely in improving my doomed relation with

English. His belief that “Musicology encompasses everything” encouraged me to

combine what I have learned from my previous studies for the benefit of the studies at the

University of Calgary. Prof. Bell showed me how to focus on the essence of a

compositional project, while at the same time, he insisted that “God exists in details.”

Dr. Radford talked to me about sound in a totally new way. The discussions we had for

issues pertaining to my improvisations and contemporary music, were very enlightening

for me.

I would also like to acknowledge the contribution of Drs. Jennifer Eiserman and

Kenneth Fields in opening new ways for artistic expression and thinking for me. Their

originality, devotion and strong intuition in their fields was a great inspiration for me.

I owe many thanks to the musicians John Lowry, Beth Root Sandvoss, Lucie

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Jones, Andrew Morrow, Kyle Eustace, Eric Bumstead, Matthew Blackburn, as well as

the conductor Laura Jayne Bowler, for their tireless rehearsals, and their beautiful

performance of the premiere of the work, at the “2013 Happening Festival of New Music

and Media,” at the University of Calgary.

Finally, the congenial atmosphere at the Music Department of the University of

Calgary contributed to making my stay a pleasant one. I was privileged and honored to

study, work and feel a part of this vibrant Music Department.

v

To my wife, Aleka

vi

Table of Contents

Abstract ..................................................................................................................... ii

Acknowledgements .................................................................................................. iii

Dedication ................................................................................................................. v

Table of Contents ..................................................................................................... vi

List of Tables ............................................................................................................ vii

List of Figures ........................................................................................................... viii

List of Diagrams ....................................................................................................... ix

List of Examples ....................................................................................................... x

1. Introduction ................................................................................................... 1

1.1 Intent................................................................................................................. 1

1.2 The Gesture and Its Importance ...................................................................... 2

1.3 The Idea behind Osmosis/Zymosis .................................................................. 14

2. Overview of Osmosis/Zymosis ....................................................................... 16

2.1 Osmosis/Zymosis through the Theory of Gestures .......................................... 16

2.2 Form ................................................................................................................ 30

2.3 Detailed Descriptive Analysis ......................................................................... 33

2.4 Texture ............................................................................................................ 73

2.5 The Free use of the Basic Maqam Theory and the Byzantine Music Theory as Compositional Techniques ……………………………………………... 74

2.6 The Harmonic Material ...................................................................................

75

2.7 Additive Time Signatures ................................................................................ 78

3. Conclusion ...................................................................................................... 80

Works Cited............................................................................................................... 82

Appendix A: Osmosis/Zymosis, Score…………………………………………….. 84

Appendix B: The Recording of the Première……………………………………... 170

B.1 About the Concert …………………………………………………………… 171

B.2 The Concert Program Note…………………………………………………... 171

vii

List of Tables

Table 1 Characteristics of the “Οsmosis” and the “Zymosis” Parts......................... 9

Table 2 Synoptic Table……………………………………………………………. 19

viii

List of Figures

Figure 1 Visual Arts Research: Braided Relationships............................................ 11

Figure 2 Osmosis/Zymosis, Form…………………………………………………. 30

ix

List of Diagrams

Diagram 1 Emotional Intensity in Relation to Form................................................ 32

x

List of Examples

Example 1 The beginning of the “Osmosis” part, mm. 1-6………………………. 17

Example 2 The beginning of the “Zymosis” part, mm. 486-489…………………. 18

Example 3 Gesture Α…………………………………............................................ 33

Example 4 Osmosis/Zymosis, The Division of Gesture A, mm. 1-3……………... 34

Example 5 Osmosis/Zymosis, Gesture B, mm. 12-13.............................................. 35

Example 6 Osmosis/Zymosis, Gesture C, m. 14...................................................... 36

Example 7 Osmosis/Zymosis, Gesture D, m. 20....................................................... 37

Example 8 Osmosis/Zymosis, mm. 19-21…………………………………………. 37

Example 9 Osmosis/Zymosis, mm. 23-25…………………………………………. 38

Example 10 Osmosis/Zymosis, Gesture E, mm. 23-24............................................. 38

Example 11 Osmosis/Zymosis, m. 25....................................................................... 39



Example 14 Osmosis/Zymosis, Gesture F, m. 49…………………………………. 40

Example 15 Osmosis/Zymosis, Gesture F' [1st variation of F], m. 51………..…… 40

Example 16 Osmosis/Zymosis, m. 51………………………………………...…… 41

Example 17 Osmosis/Zymosis, Gesture F'' [2nd variation of F], m. 60……....…… 42

Example 18 The rhythmic pattern of the “çifteteli” rhythm………………….…… 42

Example 19 Osmosis/Zymosis, Gesture G, mm. 71-74 & mm. 75-78………….… 42

Example 20 Osmosis/Zymosis, Gesture G' [Transformation I], mm. 78-79….....… 43

Example 21 Osmosis/Zymosis, Gesture G'' [Transformation II], mm. 83-84….….. 43

Example 22 Osmosis/Zymosis, Gesture H, m. 84…………………………………. 44

xi

Example 23 Osmosis/Zymosis, Gesture I, mm. 90-91…………………………….. 44

Example 24 Osmosis/Zymosis, mm. 95-97………………………………………... 45

Example 25 Osmosis/Zymosis, mm. 131-134……………………………………... 46

Example 26 Osmosis/Zymosis, Gesture J, mm. 142-143…………………….……. 47

Example 27 Osmosis/Zymosis, Gesture K, mm. 151-153…………………….….. 47


Example 29 Osmosis/Zymosis, mm.161-164............................................................ 49

Example 30 Osmosis/Zymosis, mm.165-167……………………………………… 49

Example 31 The “ruff” technique…………………………………………………. 49

Example 32 Osmosis/Zymosis, m. 225……………………………………………. 50

Example 33 Osmosis/Zymosis, m. 249-251……………………………………….. 51

Example 34 Osmosis/Zymosis, Gesture L, m. 282………………………………... 51




Example 38 Osmosis/Zymosis, Gesture M, m. 326……………………………….. 54

Example 39 Osmosis/Zymosis, mm. 346-349……………………………….…….. 54

Example 40 Osmosis/Zymosis, Gesture N, mm. 380-81…………………………. 55

Example 41 Osmosis/Zymosis, Gesture Ο, mm. 393-94………………………….. 55

Example 42 Osmosis/Zymosis, mm. 422-429………………………………….….. 56


Example 44 Osmosis/Zymosis, mm. 442-445…………………………………..…. 58


xii

Example 46 Osmosis/Zymosis, Gesture P, mm. 486-489………………….……… 59

Example 47 Osmosis/Zymosis, Gesture Q, mm. 510-513………………………… 60

Example 48 Osmosis/Zymosis, Gesture R, mm. 518-521…………………………. 61

Example 49 Osmosis/Zymosis, Gesture S, mm. 534-537…………………………. 62

Example 50a Osmosis/Zymosis, The zeibekiko rhythmic cycle in 9/2…………… 62

Example 50b Osmosis/Zymosis, mm. 539-548. ……………………….................. 63



Example 53 Osmosis/Zymosis, Gesture T, mm. 566-569…………………………. 66


Example 55 Osmosis/Zymosis, mm. 578-581........................................................... 68

Example 56 Osmosis/Zymosis, mm. 598-601.......................................................... 68

Example 57 Osmosis/Zymosis, Gesture U, mm. 602-605………………………… 69

Example 58 Osmosis/Zymosis, Gesture V, mm. 614-617. ...................................... 70


Example 60 Osmosis/Zymosis, Gesture W, mm. 626-629………………………... 71

Example 61 Osmosis/Zymosis, Gesture Χ, mm. 638-641………………………… 72

Example 62 Osmosis/Zymosis, Gesture Υ, mm. 662-665………………………… 72

Example 63 Osmosis/Zymosis, Gesture Ζ, mm. 678-681…………………………. 73

Example 64 Osmosis/Zymosis, m. 1………………………………………………. 76

Example 65 Osmosis/Zymosis, m. 7………………………………………………. 76

Example 66 Harmonic reduction, mm. 512-517………………………………….. 77


1

1. Introduction

1.1 Intent

Aiming for a unified expression, I used idiomatic elements from Eastern Mediterranean

culture merged with contemporary compositional techniques. Improvising with various

instruments was a significant source of inspiration for this piece. The result of this

intuitive approach was then filtered, organized and shaped into the material for a new

music work, with the addition of new ideas that came out of the compositional process

itself.

My decision to choose this particular orchestration was based on the varied palette

of colours that this ensemble provides, as well as the fact that the “Pierrot ensemble” is a

significant ensemble of Western contemporary music. The use of a folk instrument or a

sound file with direct references to Eastern Mediterranean music culture would imply a

dichotomy, or at least a comparative approach embedded in the creative process. On the

other hand, the use of gestures within this ensemble evokes instrumental sonorities,

techniques, modes and rhythms of Eastern Mediterranean traditions that have existed

since antiquity.1 This approach is related to idiomatic patterns and gestures in traditional

performance practice, with respect to the theoretical system of tetrachords, modes and

maqams.

Being musically bilingual (trained and exposed in both Eastern and Western

music) helped me to perceive and understand music in many ways. However, this created

an aesthetic challenge for the balance or the equality of roles of the cultures, as well as

for shaping and communicating the results of the synthesis of these elements. This

1 Foivos Anogianakis, Greek Traditional Musical Instruments (Athens: Melissa, 1991).

2

challenge was one of the main reasons for the prolongation of my studies in various fields

such as musicology, ethnomusicology, composition, Byzantine music, and performance

studies in Western and Eastern Mediterranean instruments.

The need to have equal roles for all the instruments as a parallel to the equal roles

of the two cultures led to the focus on each of the instruments and the emphasis on their

unique characters. However, the polyphonic texture that is prevalent in the piece as a

symbol of Western culture aims to show the complementarities of the voices and the roles

of the instruments.

Finally, the process aims to achieve a personal development towards the maturity

of my musical thinking and composing, with the intention of sharing the outcomes of this

experience and encouraging others to follow this path.

1.2 The Gesture and Its Importance

The basic compositional approach for Osmosis/Zymosis is related to the integration of

idiomatic patterns and gestures as used in the traditional performance practice of Greek

folk music. Tetrachords, modes and maqams are combined with atonal material in a quest

for balanced sonorities. In this approach, a gesture or chironomia (Greek: χειρονομία) is

a living object, which carries the seed of the compositional process. The reason I call it a

“living object” is its connection with a living tradition, which strongly influences me

aesthetically, as a composer, musicologist and performer.

My experience in Greek folk, Byzantine, and traditional music along with studies

in Western music have shaped my aesthetic world. These parallel studies led me to

realize that the main material that Greek folk musicians use is a gesture or a chironomia,

3

and not a phrase, a motive, a special technique, or an effect – terms that are used in

Western music. In fact, the word ‘gesture’ is widely used by numerous Western

contemporary composers, without having a common meaning.

But how can a gesture or a chironomia be defined in the compositional process?

The etymology of the word chironomia (from chira [χείρα] = hand and nemo (νέμω) =

allocate) may be useful for understanding its nature and its effect on the development of

traditional music. A gesture is a form of non-verbal communication through a movement

of the hands, face, or other parts of the body. Chironomia, originally a hand movement,

also became a broader term, which is synonymous to gesture.

The use of gestures in the compositional process may result in a passage with a

special sound colour, which is another broad term with various meanings in Western

music tradition. The starting point for my methodological framework is an attempt to

redefine sound colour as a broader concept and specify the parameters that relate to it. In

my work, the term sound colour is not used to denote timbre or spectral analysis, but to

express the cultural resonance that comes directly out of the use of gestures and the

musical material they consist of. Sound colour may therefore also pertain to nuance,

various types of attacks, or other aspects of performance practice. The wide vibrato used

in Osmosis/Zymosis is a characteristic example of a specific performance practice with a

sound colour that comes from the traditional practice of Eastern Mediterranean music. In

a way, everything that is conceived as inserted music material from a different culture

could be understood as an object, while the practices that are used for this integration

constitute the “process.” Such a combination of object and process may yield a particular

sound colour. According to Philip V. Bohlman,

4

[m]usic may be embedded as an object or as a process; adumbration,

similarly may be recognizable through the objects it leaves or the

processes it unleashes. It is, moreover, the interaction between and among

these conditions that makes their metaphysical routes so complex and so

difficult to chart.2

Composing with the use of gestures constitutes a potential pathway for cultural

communication. This specific exploration of sound colour from Eastern Mediterranean

sources within Western contemporary music represents a transmission of cultural capital

and is important for connecting cultures. According to Graeme Sullivan,

[t]he expanding landscape of imaginative and critical inquiry pursued by

artists, cultural commentators and teachers is purpose driven, where the

need to explore new opportunities for creating and critiquing knowledge is

being taken up by the challenge of personal belief and public need. This

process is being shaped in part by artists who see structures that define

traditional discipline areas, not as boundaries or as barriers but as potential

pathways that can link ideas and actions in new braided ways.3

The communication among composers, performers and audiences through the

musical gestures facilitates intercultural communication. This happens because of the

emphasis on the active coexistence of various cultural backgrounds for the shaping, the

performing and the reception of these gestures, through a music work. In fact, this is an

aesthetic premise embedded in the concept of Western art music.

2 Philip Bohlman, “Ontologies of Music,” Rethinking Music, edited by Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999), 19. 3 Graeme Sullivan, Art Practise as Research: Inquiry in Visual Arts, 2nd edition (Los Angeles, London, New Delhi, Singapore, Washington DC: SAGE Publications, 2010), 156.

5

For the Romantics, [...] whereas great music serves to mediate the local

and the universal, lesser music remains perforce contained within its local

sphere. In his 1836 review, Robert Schumann famously observed that

Fryderyk Chopin was a great composer because he was able to transform

the raw musical characteristics of his national (i.e., local) heritage into

individual works of universal value.4

Thinking of compositional process with musical gestures as the border between

music and language led me to explore the challenges of persuasion through the rhetoric of

music gestures. This process was enlightening in connecting the idea of gesture with the

form of the work. Rhetoric, the art of persuasion in ancient Greece and Rome, was also

taught in late Renaissance and Baroque schools, and contemporary theorists noted its

application to the new style of music presented by a soloist (whether singer or

instrumentalist) as expressive declamation. Classical rhetoric proposed that a speech

should have six sections:

1) Exordium (introduction)

2) Narratio (factual statement)

3) Divisio or propositio (outline of points to be affirmed)

4) Confirmatio (confirmation)

5) Confutatio (rebuttal)

6) Peroratio or conclusio (conclusion)

Musical treatises in the Baroque period would often advise composers to plan

their works in a similar way and to intensify their music with figures analogous to those

4 Friedemann Sallis, “Introduction,” Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress, edited by Friedemann Sallis, Robin Elliott, and Kenneth DeLong (Waterloo: Wilfrid Laurier University Press, 2011), 4.

6

of rhetoric, such as anaphora (reference], or catabasis (descending line). In

Osmosis/Zymosis, the classical rhetoric scheme for speech was not followed in a strict

manner, because it contradicted the primary plan of the piece. Nevertheless, the scheme

was of great importance for me in shaping the gestures as “arguments” for the

construction of an interesting “musical mosaic.”

Another example of a rhetorical figure used in Osmosis/Zymosis is metaphor. As I

see it, metaphor not only is a figure of speech, it is also an important compositional tool.

The use of the marimba and the piano as a zither-like Greek instrument (santur and

kanun) in my project is not an imitation. It is closer to metaphor since the performers are

playing gestures written in a way that reflects the impression of specific techniques of

repetitive notes or ornaments used on the traditional instrument. This is how the

impression of the Eastern Mediterranean sound colour is transmitted through the gestures.

In Byzantine music, neumes are symbols of musical gestures. The neume was the

basic element of the Western and Eastern systems of musical notation, prior to the

invention of five-line staff notation. The word is a Middle English corruption of the

original Ancient Greek word for both breath and spirit (πνεῦμα - pneuma). The earliest

neumes were inflective marks which indicated the general shape but not necessarily the

exact notes or rhythms to be sung.

The earliest Western notation for chant appears in the ninth century. These early

staffless neumes, traditionally called chironomic, appeared as freely formed wavy lines

above the text. Various scholars see these as deriving from chironomic hand-gestures,

from the ekphonetic notation of Byzantine chant, and from punctuation or accent marks.5

A single neume could represent a single pitch, or a series of pitches all sung on the same 5 Constantin Floros, Universale Neumenkunde (Kassel-Wilhelmshöhe: Bärenreiter-Verlag, 1970).

7

syllable. Chironomic neumes indicated changes in pitch and duration within each

syllable, but did not attempt to specify the pitches of individual notes, the intervals

between pitches within a neume, or the relative starting pitches. In Byzantine music

practice, the chanter weaves together the notes in order to better serve the meaning of the

text. This is not shown in the notation, and that is why there are numerous interpretations

of the same work that sound like variations of the same theme. This approach to

interpretation can be compared to improvisation, since every time one chants a Byzantine

hymn it can be done differently. This practice is a basic tool for the elaboration on

gestures.

Another important aspect of gesture is its relation to “kinesis” and “ethos.” In

Aristotelian philosophy, kinesis refers to the transformation of the state of potentiality to

that of actuality. Ethos is “the distinguishing character, sentiment, moral nature, or

guiding beliefs of a person, group, or institution.”6 The ancient Greeks also used this

word to refer to the power of music to influence an audience’s emotions, behaviour, and

even morals. Gestures often convey the atmosphere of a different place or a different

time. This is why a simple rebetiko song from Greece consisting of gestures can be so

strongly connected with a certain isolated community, an inviolable code of conduct, a

unique dance, and determined aesthetic values and qualities, and be communicated to

listeners from other places.

The title of the piece relates to two complementary concepts, division and

combination, which are used as rhetoric tools. In fact, the “Osmosis” part begins with a

division of a gesture, while the “Zymosis” part begins with a combination of various

gestures, aiming toward a symbolic connection between the two major parts of the work. 6 http://www.merriam-webster.com/dictionary/ethos?show=0&t=1366948690, (accessed April 25, 2013).

8

A basic idea about the shaping of the form in relation to gestures is that “musical

form is centrally a matter of cogency of succession, moment to moment and part to

part.”7 This idea implies a linearity of the musical moments. Musical linearity takes place

when some musical events, like gestures, are determined by implications that arise from

earlier events in the piece. This results in linear time, in which new events succeed earlier

ones. The gestural concept described above aligns with Schoenberg’s concept of

developing variations with respect to motivic development, where “the changes proceed

more or less directly toward the goal of allowing new ideas to arise.”8 This principle of

linear time relates to the title Osmosis/Zymosis. The latter comes as a result of the former.

In a way, “Osmosis” is the interplay between sounds and gestures in search of a

deeper balance, while “Zymosis” is the fermentation or the result of that process into a

personal understanding of symmetry. In this work, symmetry is related to balance as

suggested by Kleobulos (“μέτρον ἄριστον” [metron ariston] – moderation is best). This

is the moral meaning of the word symmetry. It is a balance between constructive and

intuitive logic, research and creation, as well as East and West, or even art and folk

music.

For this work, symbols play a significant role for the balance between East and

West. The “Pierrot Lunaire” ensemble – for instance – is a significant ensemble of

Western contemporary music, not only because of the reference to the particular work

composed in 1912 by the leading composer of the Viennese school. Many contemporary

works employ this instrumentation for a chamber music ensemble. “The Fires of

London,” a chamber music ensemble created to play “Pierrot Lunaire” and other works

7 Jerrold Levinson, Music in the Moment (Ithaca: Cornell University press, 1997), 11. 8 Arnold Schoenberg, The Musical Idea and the Logic, Technique, and Art of its Presentation, trans. and ed. Patricia Carpenter and Severine Neff (Bloomington: Indiana University Press, 2006), 247.

9

composed for this ensemble, existed between 1965 and 1987 in London, and after 1967

was under the direction of Peter Maxwell Davies and Harrison Birtwistle. This ensemble

was the “Pierrot Lunaire” ensemble augmented by the addition of one percussionist.

Adding one more percussionist for Osmosis/Zymosis, playing the marimba (a pitched

percussion of Latin American origin), is a symbol of augmentation of this ensemble, a

priori. However, my chosen ensemble does not include voice.

For this twenty-minute piece, the part of the “Οsmosis” is approximately the first

half which leads to a climax. The highest point of the climax approximates the golden

section of the whole piece, and is followed by the “Zymosis” part.

While “Zymosis” is more or less based on the material presented in the

“Osmosis” part, the nature of this part is more abstract, either in a poetic or a dramatic

way. Here the material is being filtered and refined into a personal language that balances

the various musical aspects into complete statements. The musical processes predominate

over the material that is used (see table 1).

Table 1 Characteristics of the “Οsmosis” and the “Zymosis” Parts

Osmosis Zymosis

Interplay Fermentation

Linearity Abstraction: Poetic or dramatic nature

Unfiltered material Filtered material

The “Osmosis” part relates to Bartók’s ideas about the influence of peasant music

on modern music. According to Bartók,

10

[t]wo main types can be distinguished among works of this character. In

the one case accompaniment, introductory and concluding phrases are of

secondary importance and they only serve as an ornamental setting of the

precious stone: the peasant melody. It is the other way round in the second

case: the melody only serves as a “motto” while that which is built round it

is of real importance. […] Another method by which peasant music

becomes transmuted into modern music is the following: the composer

does not make use of a real peasant melody but invents his own imitation

of such melodies.9

In Osmosis/Zymosis, I follow the last method and invent my own material. I use the

material in some cases as a precious stone and some other cases as a motto. Ι invent the

material by exploring Greek traditional music in various ways and by improvising,

chanting, playing traditional songs, paraphrasing them and filtering them into new ideas.

This is how the material itself is “asked” to provide the answers for every compositional

problem.

The main concern with the development of the music material with the gesture as

an element of cohesion is to integrate it organically into a contemporary music work. The

musical gestures carry the seed of constant development and variation. Traditional music

practice is a kind of compact wisdom of generations that is conveyed through these

gestures. A real challenge for the composer today is to find the way to best continue his

or her tradition into a modern creative process. György Kurtág is an example of a

contemporary composer who employs gestures in many of his works, such as Játékok I

9 Benjamin Suchoff (ed.), Béla Bartók Essays (Lincoln and London: University of Nebraska Press, 1993), 341-343.

11

(1973-78), a collection of pedagogical performance pieces for piano, or Grabstein für

Stephan (1989), for guitar and instrumental groups.

With the use of the following figure, the art critic Graeme Sullivan points out that

the artist is also the critic, the interpreter and the empirical observer of the work he or she

produced. The artist is at the centre of this figure, and the other three approaches exist

because of the art practice and research (see fig. 1).

Figure 1 Visual Arts Research: Braided Relationships10

Although Sullivan writes about critical, interpretive and empiricist traditions with

respect to visual arts practices and research, a parallel relationship seems to hold with the

composer, who is conceiving, evaluating and interpreting a new concept. According to

Sullivan,

10 Sullivan 112.

12

[…] art practice is the core around which inquiry unfolds. Research draws

on knowledge and experience and uses structure of inquiry designed to

increase the human capacity to intervene, interpret, and act upon issues

and ideas that reveal new understandings. [...] When seen in relation to

surrounding empiricist, interpretivist, and critical research traditions,

different practices emerge as artistic inquiry twists and braids in response

to purposes and possibilities. This dynamic process opens up several

relational and transformative research practices that are found within and

across, between and around the framework[…]11

This idea could be seen as a general theory to approach a music work as an ‘open

work.’ Although Osmosis/Zymosis is a fully composed work, this term can be useful to

describe the interaction among the composer, the performers and the audience. This is a

term that Umberto Eco uses to refer to works that are open to multiple realizations.

The possibilities which the work’s openness makes available always work

within a given field of relations. As in the Einsteinian universe, in the

“work in movement” we may well deny that there is a single prescribed -

point of view. But this does not mean complete chaos in its internal

relations. Therefore, to sum up, we can say that the “work in movement” is

the possibility of numerous different personal interventions, but is not an

amorphous invitation to indiscriminate participation. The invitation offers

the performer the opportunity for an oriented insertion into something

which always remains the world intended by the author.

11 Sullivan 102.

13

In other words, the author offers the interpreter, the performer, the

addressee a work to be completed.12

In other words, a creative artist shares the new experience, the activity, and the

original idea with the addressee. The composer communicates music to people in the

form of new knowledge and experience, without necessarily providing the answers to the

questions that have been raised within the work. In that sense, composers are also the

educators of the new knowledge they offer, by suggesting ways of perceiving and

understanding new music, in an “open” relation with the audience. The idea of an “open

work” inspired many composers, among them Luciano Berio, a close friend of Umberto

Eco’s, who emphasized the importance of openness as an approach to the music work:

In 1962 Umberto Eco published a book which since has become a classic:

Opera Aperta (translated into English as The Open Work). This book was

partially inspired by “open” or relatively open musical experiences such as

my flute Sequenza, and it develops, within a vast framework, some of the

problems I am approaching here. I say problems because such they really

are, especially when we avoid a proper distinction between musical and

literary concepts.

Without attempting to sum up this important book, let me mention

a few points. Eco says: “The form of the work of art gains its aesthetic

validity precisely in proportion to the number of different perspectives

from which it can be viewed and understood. These give it a wealth of

different resonances, and echoes without impairing its original essence.”

12 Umberto Eco, The Open Work, translated by Anna Cancogni (Cambridge: Harvard University Press, 1989), 19.

14

He also says that a musical work can be open in a tangible sense, and that

it can be concretely unfinished.13

In the age of globalization and rapidly changing musical landscapes, sociologists

use the concept of hybridization to analyze this type of contemporary cultural dynamic.

Fusion is another trend where the roots are melted together into a new idiom, where the

sources are submerged. Musicologists will often compare the original folk song with the

new art-music work, in order to understand the impact of the original material on the new

work. Composer Luciano Berio knew that the creation of a unity between folk and art

music is a utopian dream. However, the intertextuality between these two genres in a new

work is of potential benefit, providing a significant external source for the enrichment of

art music per se.

Berio’s utopian dream to achieve a unity between folk and art music could be

considered an attempt to cancel Clement Greenberg’s critical categories of “Avant-

Garde” and “Kitsch,” as seen in his eponymous article, one of the most influential

twentieth-century essays on aesthetics and art.14 By that Berio would conceptualize in a

theoretical framework his new approach to folk music. For Greenberg, social

estrangement was a criterion of historical validity of the work of art. In my work, art and

folk music are of equal importance, and the latter is used to enrich the former.

1.3 The Idea behind Osmosis/Zymosis

The idea behind Osmosis/Zymosis is shaped by a personal belief that the composer should

stimulate the audience. A composer invites the audience to share in the artistic

13 Luciano Berio, Remembering the Future (Cambridge: Harvard University Press, 2006), 82-83. 14 Clement Greenberg, “Avant-Garde and Kitsch,” Partisan Review 6:5 (1939), 34-49.

15

experience, and by that he or she affects the way people listen. A composer is also an

educator responsible for the communication of his or her music to the audience and in

this way influences the aesthetic world of the audience.

Composers today must face the lack of interest of mainstream audience in

contemporary art music. The simplicity and the clarity of the music can be a solution to

this challenge. In a way, contemporary music may become simpler in order to better

educate and communicate with the audience. This is the framework within which

Osmosis/Zymosis was composed.

16

2. Overview of Osmosis/Zymosis

2.1 Osmosis/Zymosis through the Theory of Gestures

The piece unfolds through the interplay of gestures within the compositional process. The

“Osmosis” section sets the stage for the subsequent development in the “Zymosis”

section. The construction of the “Osmosis” section is mostly based on the technique of

the mosaic, where every gesture sets the need for the appearance of another one. As a

result of that, the “Osmosis” section follows a fragmentary development, while the

processes in the “Zymosis” section that are based on the blending of gestures are more

complete. This is already evident from the first measures of each major section. In the

beginning of the “Osmosis” section, events satisfy the action-reaction axiom and, in some

cases, there exist simultaneous reactions (m. 5). Every music event sets the need for the

appearance of its consequent event, as marked by the dotted lines in Example 1. In this

process, gestures provide the need or the reason for the continuation of the process.

In the “Zymosis” section, on the other hand, the gestures are merged from one

substance into another, resulting in passages with certain directions or shapes. At the

beginning of the Zymosis” section, the focus on the clarinet line is gradually formed with

the blending of layers of passages as shown in Example 2.

The overall form follows the pattern of a gesture, from its beginning, representing

the absorption of ideas, or the “Osmosis,” towards the conclusion, the fermentation or the

transformation of the ideas as reflected by the term “Zymosis.” The common

characteristic in both sections is the constant interplay of gestures, which provides

17

cohesiveness, momentum and variety to the piece. This process relates to the moment to

moment reception of music, as described above.

Example 1 The beginning of the “Osmosis” part, mm. 1-6.

18

Example 2 The beginning of the “Zymosis” part, mm. 486-489.

Osmosis/Zymosis employs a large number of gestures, the most important of

which are shown in a synoptic table (see table 2). Drawings have been used to graphically

illustrate the motion, direction and function of the gestures. The idea and the inspiration

for the creation of these graphical illustrations have been drawn from the shapes of the

neumes of Byzantine chironomic notation. Τhe synoptic table allows one to understand

the different nature and character of these gestures. The first nineteen gestures

(“Osmosis” section) relate to simple, linear ideas, while from the twentieth onwards

(“Zymosis” section), there are more complex forms and surfaces. The relation between

the first type of gestures (1-19) to the second type (20-30) is similar to that of a line to a

three-dimensional geometric shape. The gestures in the “Zymosis” section are depicted as

surfaces or non-linear formations, with the addition of greyed or shaped areas (see table

2).

19

Table 2 Synoptic Table

30

2.2 Form

The “Osmosis” part (mm. 1-429) is transformed into the “Zymosis” part (mm. 486-692)

through a climactic transition passage (mm. 430-485), essentially a bridge or a gesture of

change. The end of the transition passage (mm. 486-693) is the approximation of the

golden section (see fig. 2).

Figure 2 Osmosis/Zymosis, Form

“Osmosis” (mm. 1-429) can be divided into four major sections: A (mm. 1-93), B (mm.

94-240), C (mm. 241-379), D (mm. 380-429). The transitional part (mm. 430-485) can be

divided into two sections: E (mm. 430-445), F (mm. 446-485), and the “Zymosis” part

can be divided into four major sections: G (mm. 486-511), H (mm. 512-565), I (mm. 566-

616), J (mm. 617-693). Each section has a distinct character, which nonetheless functions

as an inherent part of the work that has an organic relation with the rest of the sections.

Section A (mm. 1-93) for instance, ends with an abrupt interruption, followed by a

relaxed and fairly static passage. Another abrupt ending with an accented repetition of a

chord, occurs in m. 240, at the end of section B, before the beginning of the marimba

solo, in section C. Measure 379 signifies the beginning of a dance-like theme in 7/8 in m.

380 (section D). The end of this section coincides with the end of the “Osmosis” section.

By accenting the last two quarter-note beats of the 7/8 metre, the “Osmosis” section is

naturally connected with the following 4/4 metre of the transitional part.

31

The first section of the transitional part (mm. 430-445) begins the motion to the

climax, which ends with the appearance of a triplet rhythmic pattern. This rhythmic

pattern is the basic element for the climax, which coincides with the following section

(mm. 446-485). The last section of the transition ends at the highest point of intensity,

which is sustained by the repetition of the strongest point of the climax in m. 484, and the

two pauses that surround it. This dramatic silence at the end of the climax imposes a way

of listening, which is necessary for the reception of the diffused gestures at the “Zymosis”

section.

The first section of the “Zymosis” part (mm. 486-511) ends with the beginning of

a short passage that employs a homophonic texture, as a symbol of the unity of the

various elements used in this work. The following section (mm. 512-565) ends with the

replacement of the bar-lines with dotted bar-lines, for coordination only. The ad libitum

and slow ¼ tone vibrato starting in m. 566 serves as a “glue” for all the loose gestures

that appear in this section (mm. 566-616). The beginning of a set of repetitive, oscillating

or obsessive gestures from the violin in m. 616 signifies the end of this section and the

beginning of the last section J (mm. 617-693), which combines the previous homophonic

texture with the obsessive gestures from the violin, foreshadowing the conclusion of the

piece. Diagram 1 is a subjective graphical representation of the changing emotional

intensity of these passages as the work unfolds.

32

Diagram 1 Emotional Intensity in Relation to Form

33

2.3 Detailed Descriptive Analysis

In order to have a closer look at the function of some important gestures, the sections can

be further divided into smaller units.

OSMOSIS (mm. 1 – 429)

Measures 1-11

The first section of the piece is an investigation of the division of gesture A (see ex. 3).

Example 3 Gesture Α.

This introductory gesture employs an underlying stepwise motion from E (the first note)

to D (the last note of the gesture). However, there is a more important characteristic

inherent in this gesture, in relation to its development. The leap to its highest note (A)

produces the energy that results in the lively motion towards its conclusion. But what if

this gesture was divided right in the middle? Would that action result in having two

gestures? One approach to this rhetorical question is given by the first three bars of the

piece, where this gesture is divided and separated or prolonged by a bar (see ex. 4).

34

Example 4 Osmosis/Zymosis, The Division of Gesture A, mm. 1-3.

The music material used after m. 3 is mostly derived from this gesture. The emphasis on

the perfect fourths and fifths relates to the most important notes of the gesture; the first

one (E), the higher (A) and the last one (D). The strongest point of this section is in

measure 7, underlined by the accented polychords – again consisting of fourths and fifths

– in the marimba. From this point onwards there is a fade out until m. 11, where this

section is concluded.

The texture is mainly polyphonic, with the exceptions of the first and the last bars

of this section, in which the texture is homophonic. In the first bar the chord functions as

an accompaniment of what was heard up to that point, while in the last bar the

homophonic texture is homorhythmic.

35

Measures 12-22

An ‘unfolding’ process begins with the marimba imitating the steady beat of a clock on a

four-note ostinato (E-F-B-C), varied with accents. This ostinato sounds as the source for

gestures B and C, which share two common notes with the ostinato.

The logic behind the piano accompaniment for this section is based on this

feature of the common notes of the gestures with the ostinato. Beginning with a chord

that has all four notes of the ostinato (m. 12), I gradually added new notes in order to

color the gestures in a way that does not relate to their nature. However, by enhancing

the common notes, the harmonic material is more cohesive (see ex. 5).

Example 5 Osmosis/Zymosis, Gesture B, mm. 12-13.

36

The slow and wide vibrato used in gesture B by the flute is a typical characteristic, of

vocal and instrumental Eastern Mediterranean music. This characteristic practice relates

not only to the expressiveness of the sound itself, but also to the genesis and the

development of the ornaments. The vibrato often results in complex groups of ornaments

with neighbouring notes that shape gestures by adding character to them (see ex. 6).

Example 6 Osmosis/Zymosis, Gesture C, m. 14.

The most dissonant chord of this chord progression is found on the last beat of measure

15, in order to interrupt the ostinato and introduce the spiccato passage on the

violoncello. The spiccato passage leads to the bowed, suspended sound from the cymbal

(m. 18), which imitates the slow and wide vibrato from the flute and the violin.

The second appearance of the sound from the bowed cymbal is accompanied by

gesture D, which is heard three times before the conclusion of this section. This gesture is

based on a technique used in santur and kanun, the two zither-like instruments of Greek

traditional music. This specific technique is basically the expansion of a turn trill with the

parallel use of the pedal, to suspend the dissonance, resulting in a mysterious sound effect

(see ex. 7).

37

Example 7 Osmosis/Zymosis, Gesture D, m. 20.

Although the expanded turn implies a tonicization of E, the appearance of a D# pedal note

in the repetition of the gesture intensifies the mysterious atmosphere (see ex. 8).

Example 8 Osmosis/Zymosis, mm. 19-21.

Measures 23-66

This mysterious moment is resolved by the appearance of the asymmetrical 9/8 rhythm.

The use of the same notes of the expanded turn trill on m. 23 serves the cohesion of the

piece at this point of a significant change (see ex. 9).

38


This change from the regular 9/8 to the irregular (asymmetrical) is confirmed and marked

by gesture E from the percussion, which emphasizes each of the four parts of the meter

with a different rhythmical pattern (see ex. 10).

Example 10 Osmosis/Zymosis, Gesture E, mm. 23-24.

39

A similar effect is produced with the appearance of the following theme, where each part

of the meter is a single note. Furthermore, the ornament on the first beat is a reference to

gesture D (see ex. 11).

Example 11 Osmosis/Zymosis, m. 25.

This rhythmical pattern is developed into the following theme with the use of eighth

notes (see ex. 12).


This process of variation continues in order to combine the theme in sixteenth-notes in m.

33 with the Hicaz tetrachord (A-Bb-C#-D), which are both important for gesture F (see ex.

13). The texture in this section is also polyphonic.

40


Gesture F is constructed on a Hicaz pentachord (D-Eb-F#-G-A) in a stepwise and

undulating motion. The ending on the subtonic (lowered leading tone) provides the

energy for the motion and the repetition of the gesture, as well as a tendency for the

tonicization of C (see ex. 14). This is supported by the accompanying C pedal note.

Example 14 Osmosis/Zymosis, Gesture F, m. 49.

In the following variation of gesture F, there is a leap to the highest note of the gesture,

which approximates its golden section (see ex. 15).

Example 15 Osmosis/Zymosis, Gesture F' [1st variation of F], m. 51.

41

The fact that C is both the highest and the lowest note of the gesture, while the

accompaniment of its ending is a pedal C note is evident of the change of the tonicization

from D (the first note of the Hicaz tetrachord) to C (see ex. 16).


The second variation of this gesture works as an ostinato (mm. 59-64), over which ideas

grow and gradually build the necessary energy for the break point or the conclusion of

this section on m. 66 (see ex. 17).

42

Example 17 Osmosis/Zymosis, Gesture F'' [2nd variation of F], m. 60.

Measures 66-77

Gesture G and its variations are based on a rhythm named “çifteteli,” which is common in

the countries of the Eastern Mediterranean region (see ex. 18). This rhythm usually

employs a pattern with two pitches, as indicated by its name (“çifte” means two and “teli”

means string in Turkish).

Example 18 The rhythmic pattern of the “çifteteli” rhythm.

Gesture G is a typical rhythmical pattern based on a transformation of the “çifteteli”

rhythm. The persistence on two different timbres is the most evident common

characteristic that relates the gesture with the rhythm described above (see ex. 19).

Example 19 Osmosis/Zymosis, Gesture G, mm. 71-74 & mm. 75-78.

43

The addition of a third note is a significant characteristic of the first transformation since

it generates a melodic idea (see ex. 20).

Example 20 Osmosis/Zymosis, Gesture G' [Transformation I], mm. 78-79.

The second transformation explores this rhythmic pattern with the use of tongue slaps in

the winds (see ex. 21).

Example 21 Osmosis/Zymosis, Gesture G'' [Transformation II], mm. 83-84.

The use of tongue slaps in the second transformation generates another gesture, based on

a combination of extended techniques in the strings. Sounding together on m. 84, the

tongue slap gives a strong beginning for the seagull effect, followed by the harmonic

glissando as a kind of resonance (see ex. 22).

44

Example 22 Osmosis/Zymosis, Gesture H, m. 84.

The use of a range of three octaves for the shaping of the following gesture results in an

unexpected ending. This surprising effect is the result of the juxtaposition of the higher

register of the beginning of the gesture with the lower register of the ending of the gesture

(see ex. 23).

Example 23 Osmosis/Zymosis, Gesture I , mm. 90-91.

45

Measures 94-131

This section serves to absorb the energy built up to this point, and later channels this

energy to shape the first tutti gesture. The absorption of the energy is achieved by the use

of a harmonic material based on perfect fifths and diatonic melodic material, which both

provide a relaxing atmosphere, downgrading the emotional intensity.

The main melodic material used in this section is a transformation of gesture F,

previously heard, which employs diatonic intervals in stepwise motion, instead of the

characteristic augmented second interval of gesture F (see ex. 24). Again, this results in a

calming flow of the music material, towards the interruption in measure 132.


Measures 132-141

This passage is an awkward, mannered moment, aiming for a false formation of a tutti

gesture, foreshadowing the “Zymosis” part of the piece. The combination of various

elements, including extended techniques and unexpected tempo fluctuations, gives the

impression of a compressed new world that suddenly appears. This approach, which

breaks the linearity followed up to this moment, is comparable to the technique of

retrospective narration as used in literature and film (see ex. 25).

46


47

Measures 142-159

In this section there is a contrast between gestures that are based on two different

tetrachords: the Hicaz (G-Ab-B-C) and the Sabah (G-A-Bb-Cb) tetrachords. The

contrasting nature of these two tetrachords is due to the different intervals they employ

(see ex. 26 and 27). Furthermore, the Sabah tetrachord in example 27 contains a

diminished fourth which is relatively rare in tetrachords. As a result of that, the traditional

ending note of melodies using this tetrachord is usually the third note, which forms a

consonant interval with the first note of the tetrachord.

Example 26 Osmosis/Zymosis, Gesture J, mm. 142-143.

Example 27 Osmosis/Zymosis, Gesture K, mm. 151-153.

In addition, the ethos or the character of each tetrachord is different. The Hicaz tetrachord

is imposing, dynamic and symmetrical, and therefore stable and balanced, while the

Sabah tetrachord is mournful, mysterious and asymmetrical. This constant juxtaposition

48

of the tetrachords in this section sets an ambiguous moment for the development of the

piece. These two opposite poles create the energy needed for the gradual regaining of the

tempo used at the beginning, starting with the accelerando in m. 152.

Measures 160-181

The re-establishment of the starting tempo is underlined by the reappearance of the

“çifteteli” rhythm in m. 160., which is further developed and explored with the use of

material derived from the false formation of the tutti gesture in mm. 132-141 (see ex. 28).


This section is also significant because of the introduction of the embellished Nihâvend

pentachord (G-A-Bb-C#-D-Eb) introduced through the next gesture. This embellished

pentachord will play an important role as an ostinato (see Gesture L). The quintuplet

subdivision implies the metre from m. 182 onwards (see ex. 29).

49


The ornamentation of the ending of this gesture in the flute is typical of the music from

the Eastern Mediterranean region. The two last notes played by the clarinet (Bb and A)

are prolonged or repeated, while at the same time the ornaments use most of the notes of

the embellished Nihâvend pentachord (see ex. 30).


The rhythmical pattern suggested by these ornaments relates to the “ruff” technique, used

by the snare drum in various parts of the piece (see ex. 31). This ornamental idea plays

the role of a connective link, providing cohesiveness and distinctiveness for the piece

(e.g. mm. 67-70 and mm. 454-477).

Example 31 The “ruff” technique.

50

Measures 182-240

This passage has a quintuple metre with an emphatic, bold and doubled melodic line in

the left hand of the piano (mm. 182-186), which is juxtaposed and contrasted with a

playful and humorous theme from the marimba (mm. 187-190). This juxtaposition creates

two contrasting poles that set the frame for further development. The conversation is

further expanded, with the clarinet adapting a humorous melodic line (mm. 193-196),

while the violin has a bold and heavy line (mm. 199-200).

A short piano interlude (mm. 203-220) leads to a commentary moment with both

vertical symmetry and rhythmic asymmetry (mm. 223-229). The symmetry on the A# axis

over an asymmetrical (5/8) rhythmic pattern, with an accent on the weak part of the

rhythm, is an example of the use of symmetry and asymmetry for the shaping of the

musical material in the compositional process of Osmosis/Zymosis (see ex. 32).


Τhe ritualistic ostinato starting in m. 230 foreshadows a new section, in which percussion

will have a significant role. On the other hand, the imposing melodic theme in the violin

(mm. 229-235) and the playful melodic line in the clarinet (mm. 236-239) are reminiscent

of the previous section and its contrasting material.

51

Measures 241-281

The new section begins with a cadenza by the marimba, accompanied by the piano, with

short interventions and comments from the rest of the instruments. It is written in a

virtuosic, quasi-improvisatory style. Here, melody notes are inserted into the repeating

notes creating a compound melodic texture (see ex. 33).

Example 33 Osmosis/Zymosis, m. 249-251.

The coda of this section is an imitated passage with a voice exchange starting in m. 276.

The second bar of the melodic theme (m. 277) is the embellished Nihâvend pentachord

that will be used as the basic material (gesture L) for the following section (see ex. 34 and

35 ).

Example 34 Osmosis/Zymosis, Gesture L, m. 282.

52


Measures 282-325

In this passage, gesture L, used as an ostinato, occurs in a 3/8 time. Superimposed on the

running sixteenth-notes are four independent layers within the proportion of 2:3:4:5. This

technique is reminiscent of the Studies for Player Piano by Conlon Nancarrow and Étude

number 6 by György Ligeti, titled Automne à Varsovie. The technique creates illusions

of various rhythmical surfaces or different tempos operating concurrently. The violin

follows a pattern of six sixteenths, the violoncello eight, the marimba four, the right hand

of the piano one, and the left hand of the piano ten sixteenths (see ex. 36).

53


Measures 326-346

In this section, the Sabah tetrachord (mm. 327-328 in the violin) is being contrasted

vertically with an ostinato (gesture M) based on a C minor diatonic scale. The highest

notes of the ostinato are enhanced by another ostinato from the snare drum, while the

marimba continues the previous pulsation on four sixteenths (see ex. 37 and 38).


54

Example 38 Osmosis/Zymosis, Gesture M, m. 326.

Measures 347-379

The reappearance of the ritualistic ostinato in the marimba, without abandoning the

pulsation on four sixteenths, serves to prepare the appearance of the next theme. The

artificial harmonic in the cello is a high pedal note that intensifies and connects as

background material all the presented ideas (see ex. 39). This section leads to the peak of

the “Osmosis” part, starting in m. 380.


55

Measures 380-415

This playful section based on gesture N in 7/8, which is formed in contrary motion, is the

strongest point of the “Osmosis” part because of its exuberant dance-like character (see

ex. 40).

Example 40 Osmosis/Zymosis, Gesture N, mm. 380-81.

This humorous and playful nature is caused by the asymmetrical structure of the metre

and the ornamentation of the melodic line. For instance, in the following example, the Eb

in the clarinet at the beginning of the gesture, within an implied harmonic environment of

G major triad, is resolved in the high D trill by the flute. The fact that the trill utilizes E

natural adds a spicy character to the gesture (see ex. 41).

Example 41 Osmosis/Zymosis, Gesture Ο, mm. 393-94.

56

Measures 416-429

This passage is the coda of the “Osmosis” part. Its purpose is essentially the absorption of

the energy of the previous section and the bridging of the “Osmosis” part with the climax

(mm. 430-485). The foreground of the ending part of this section is a long, climaxing,

melodic line in the violoncello (mm. 423-429), starting with a paraphrase of gesture N.

This process is foreshadowing the following section (see ex. 42).


57

TRANSITION (mm. 430-485)

The main characteristics of this part are the superimposition of various rhythmic patterns,

the contrary motion of the outer lines, the extreme dynamics, and the constant building of

tension.

In the beginning of this section there are several asymmetrical patterns on a 4/4

meter, starting with the 8/8 (3+3+2) in the piano, followed by the 16/16 (3+3+3+2+3+2)

in the marimba in m. 432 and the quintuplets in the violin in m. 433 (see ex. 43).


The gradual thickening of the texture and the superimposition of more rhythmic patterns

set up a disorganised, unstable environment and the need for a new beginning, based on a

clear and distinctive rhythmic pattern, starting in m. 445 (see ex. 44).

58


The contrary motion starting in m. 467 ends on the strongest point of the piece, the end of

the transition, which approximates the golden section (see ex. 45).


59

ZYMOSIS (mm. 486-693)

In the “Zymosis” part there is a holistic approach to gesture development, to form larger

entities, involving the entire ensemble. The material used here is filtered and presented in

an abstract way, not only reminiscent of the music heard up to this moment, but also

going a step further in exploring the important role of gestures for the integration of

material from Eastern Mediterranean music.

Measures 486-511

This section consists of a fusion of the material presented in both the transition and the

“Osmosis” parts. Gesture P consists of several ideas that were heard before, such as the

sixteenth-note triplets in the percussion, the ruff technique in the snare drum and the

melodic figure in the marimba. However, they have gained an interactive character,

which makes them dependent on each other for the development and the shaping of the

gesture. Together they create a polyrhythmic texture (see ex. 46).

Example 46 Osmosis/Zymosis, Gesture P, mm. 486-489.

60

As a result of this, some gestures conclude with very distinct, homophonic textures, while

the beginnings have polyphonic textures. This inherent contrast provides a dynamic

environment for each of the gestures, and eventually the entire part.

Measures 512-517

This homophonic section releases the tension of the polyrhythm, sounding as an interim

destination for the piece. The festive tone of this section is underlined by the dynamics

and the tremolos, which shape the gesture (see ex. 47).

Example 47 Osmosis/Zymosis, Gesture Q, mm. 510-513.

Measures 518-534

In this section the emphasis is on the integration of gestures that imitate techniques of

Eastern Mediterranean instruments. The ornament used in the piano on the third beat of

m. 519 is typical of the Eastern Mediterranean music. The repetitions followed by several

61

instruments enhance its role in the development and the shaping of the gesture (see ex.

48).

Example 48 Osmosis/Zymosis, Gesture R, mm. 518-521.

Measures 535-548

The extended techniques used in this section add a specific abstract character to the

nature of the piece. In the last bar of gesture S (m. 537), a combination of four different

extended techniques suggests the annihilation of the gesture, in order to continue to the

gesture of the modern zeibekiko rhythm as used in Greek folk music after 1960 (see ex.

49). The rhythm resembles an unstable heart beat because of the syncopations employed

and the asymmetry. Therefore, the zeibekiko dance has no regular dance steps and is

mostly improvised. “Since the zeibekiko does not have a typical choreography, the moves

acquire a special significance.”15 The zeibekiko rhythm in Osmosis/Zymosis is used to

15 Stavros Stavrou Karayanni, Dancing Fear and Desire: Race, Sexuality and Imperial Politics in Middle Eastern Dance (Waterloo: Wilfrid Laurier University press, 2004), 147.

62

provide variety by interrupting the regularity of the 4/4 beat. The zeibekiko rhythmic

cycle in 9/2 (see ex. 50a) begins on the last beat of m. 539 and ends in m. 548 (see ex.

50b).

Example 49 Osmosis/Zymosis, Gesture S, mm. 534-537.

Example 50a Osmosis/Zymosis, The zeibekiko rhythmic cycle in 9/2.

63

Example 50b Osmosis/Zymosis, mm. 539-548.

64

Measures 549-565

The character of the music becomes more abstract and mystical in this section. The

material used up to this point is diffused into a new sound world as explained in section

2.1. An example of this process can be seen at the ending note of the 9/2 zeibekiko

rhythmic cycle in m. 548, which is the starting note of the first gesture of this section (see

ex. 51).


65

This approach results in a pointillistic dissolution of the material, which gradually cancels

the need for strong and weak beats in the meter (see ex. 52).


Measures 566-591

The use of the dotted bar lines from m. 566 until m. 597 serves for coordination of the

ensemble only. The slow and wide ¼ tone vibrato emphasizes this diffusion, acting like a

glue for the disparate material around it. The canons employed here imply the idea of a

rethinking of the techniques of Western music tradition through the theory and the

practice of gestures. A characteristic example is the accelerating gesture in the marimba

(mm. 566-568) used as the leading voice for the first canon (see ex. 53).

66

Example 53 Osmosis/Zymosis, Gesture T, mm. 566-573.

67

The next canon starting in m. 574 employs a descending gesture, which interacts with the

slow ¼ tone vibrato creating a slippery and blurry atmosphere. This gesture is created by

a juxtaposition of a four-note pattern, a semitone lower every time, in the form of a

sequence (see ex. 54).


This is background material for the gesture with triplets on the marimba in mm. 580-581,

which comes out because of its rhythmic particularity. This gesture is a precursor for the

following gestures, which employ triplets in mm. 584-585 and in mm. 586-589. The

former is based on the Sabah tetrachord, while the latter employs chromatic material (see

ex. 55).

Measures 592-610

The triplets take the role of the accompanying rhythmic pattern, while a persistent theme,

an oscillating gesture in the violin, brings various transformations of the material

together. The rhythmic ostinato is replaced by the material with the homophonic texture,

which is now the accompaniment of the oscillating gesture, from m. 600 onwards (see ex.

56).

68


Example 56 Osmosis/Zymosis, mm. 598-601 (see ex. 56).

In gesture U, and especially in m. 604, there is an instant change of texture and the

accentuation follows an 8/8 pattern (3+3+2). Furthermore, the four doubled notes in the

piano prolong the notes of the violin of the obsessive gesture, in the same bar, since they

69

are exactly the same pitches. This instant change is a shock gesture, which carries the

seed of development and variation through contrast (see ex. 57).

Example 57 Osmosis/Zymosis, Gesture U, mm. 602-605.

Measures 611-628

A moment of stillness (mm. 611-614) allows the music to breathe, and gives the listener

an opportunity to perceive and accept all the previous motion and intensity. This moment

is interrupted by an even more persistent appearance of the oscillating gesture V, bridging

the moment of stillness and changing the polyphonic texture to a homophonic one (see

ex. 58).

70

Example 58 Osmosis/Zymosis, Gesture V, mm. 614-617.

From m. 622 onwards, the material of the gestures is based on the Hicaz maqam starting

on D (D-Eb-F#-G-A-Bb-C-D), while the main technique used is the canon.

Gesture W is the pinnacle of the use of the canon imitating the fading echo behind

the following melodic idea by the piano. This process is a diffusion of the previous

material for the benefit of the new one (see ex. 59 and 60).


71

Example 60 Osmosis/Zymosis, Gesture W, mm. 626-629.

Measures 629-637

A music bridge with characteristic rhythmic patterns based on syncopation signifies that

there is a need for something stable and imposing.

Measures 638-655

This piano and cello double cadenza employs the Hicaz maqam starting on A16 (see ex.

61). This maqam is used as a cohesive link for various sections of the piece in the form of

a tetrachord (m. 33), a pentachord (mm. 59-64), or as a full mode (mm. 638-655).

16 A-Bb-C#-D-E-F-G-A

72

Example 61 Osmosis/Zymosis, Gesture Χ, mm. 638-641.

Measures 656-677

From m. 656 onwards, the texture becomes denser with the reappearance of gestures from

various parts of the piece. Gesture Y provides a good example for the coexistence of all

these themes. In m. 662 the obsessive gestures from m. 16 can be heard and the

homophonic accompaniment from m. 600. In m. 664, the triplets imitate the slow vibrato

from m. 12 or the triplets from m. 48. In m. 665 the 16/16 pattern (3+3+3+2+3+2) from

m. 432 can be heard (see ex. 62).

Example 62 Osmosis/Zymosis, Gesture Υ, mm. 662-665.

73

Measures 678-693

This process continues until m. 678, where the coda begins. Various short melodic ideas,

namely the 8/8 pattern in m. 678 and the triplets with the use of the Nihâvend pentachord

(G-A-Bb-C#-D) in m. 680, are reminiscent of important moments of the piece. The

gesture with the plectrum inside the piano is a dramatic moment, which implies the

source of all gestures: the bodily experience as the source of the sound (see ex. 63).

Example 63 Osmosis/Zymosis, Gesture Ζ, mm. 678-681.

2.4 Texture

As mentioned above, the main texture used in the piece is polyphony, with rare and short

interruptions of homophonic passages. Polyphony provides the environment of the

coexistence of independent and complementary voices, and by that it is a tool for

integration of the material from the Eastern Mediterranean region into Western

contemporary music.

74

The decision to use polyphony was driven by the fact that Greek traditional and

folk music employ every texture except polyphony. Polyphony allows gestures to interact

in a new textural environment, providing ideal conditions for the exploration of their

character and, therefore, their integration into a contemporary music work. In this

approach the gestures provide the material for their polyphonic environment and the

transformations, based on a theory that relates to maqams, the tetrachords, the

pentachords, the instrumental techniques, and the aesthetics of Eastern Mediterranean

music, as discussed below.

2.5 The Free use of the Basic Maqam Theory and the Byzantine Music Theory as

Compositional Techniques

Maqam theory and Byzantine music theory can be very useful tools for composing and

continue to be used in various ways by contemporary Balkan and Eastern Mediterranean

composers. Both the maqam in Turkish music and the echos (mode) in Byzantine music

are constructed with various combinations of tetrachords and pentachords. In

Osmosis/Zymosis, the maqams follow a well-tempered form that allows the existence of a

strong reference to Eastern Mediterranean culture, along with a Western contrapuntal or

harmonic development.

In both Turkish and Byzantine music these tetrachords and pentachords carry the

seed of creation, development, variation or transformation into all aspects of music. In

terms of melodic development they function as formulae in which the notes of a given

maqam or echos appear in a more or less ordered way. The accompaniment and the

harmonic material are more or less prescribed. When the texture is monophonic there is

75

no accompaniment, or there is a long pedal note on the pitch centre. In case of a

heterophonic texture, the melodic line is adjusted in the idiomatic nature of each

instrument.

In my approach, the melodic lines contrast each other within a polyphonic or

polyrhythmic texture, in order to form a certain rhythmic and harmonic material. The

intend is to create interesting entities that form even more interesting assemblies. A

characteristic example of these contrasting lines can be found in mm. 684-690, where the

use of glissando inside the piano provides contrast to the melodic lines with eighth notes

in the strings and triplets in the winds. The superimposition of these elements provides a

rich, dense texture contributing to the heightened interest at the end of the piece.

2.6 The Harmonic Material

Harmonies provide light or shadow for the melodic material, affecting their nature. By

doubling some of the notes of the tetrachord or the pentachord, the harmonic series of

these notes are enhanced and they gain a different sense of validity and importance. The

opposite happens when the notes of the accompanying harmony are not included in the

tetrachord or the pentachord of the foreground melodic material. If the contrasting

harmony is too dissonant, it shadows or blurs the melodic material. It is obvious that

every occasion is different and the role of each of the employed harmonies depends on

every compositional decision that has been taken at certain points of the piece.

A characteristic example can be found in the first chord of the piece in m. 1. The

pitch centre of the chord is A. The use of D# contrasts with E, creating an uncertain or an

unstable harmonic environment. The role of F# is supportive of this uncertainty because

76

of the chromatic relation with the second note (F) of the melodic gesture. Furthermore,

the use of C and B confirm this blurring role of the harmony, as described above (see ex.

64).


The role of the quintal, quartal or mixed-interval chords with fourths and fifths at the

beginning of the piece is to emphasize the use of pentachords, tetrachords, and the

harmonic environment associated with them (see ex. 65).


77

The use of the homophonic texture in the “Zymosis” part is an attempt to forge a

harmonious combination of elements from both cultures. The interruption of this

progression in m. 517 and its continuation in m. 522, emphasize that it is always and

inevitably a dynamic process undergoing perpetual change. The doubled bass line is the

foreground material, which imitates the immersion by the descending line (mm. 512-515)

and the uplifting of a wave by the ascending line (mm. 515-517). The quarter notes from

the piano highlight the shorter waves that gradually build the tension of a larger wave,

while slight or no changes (stepwise motion in the flute and some common notes in other

instruments) occur in the accompaniment (see ex. 66).

Example 66 Harmonic reduction, mm. 512-517.

78

2.7 Additive Time Signatures

Maintaining an unchanging metre can create a limitation of accents and of ways to

organize rhythm. The solution for this problem in Osmosis/Zymosis is to have frequent

changes of additive time signatures, a juxtaposition of simple and additive measures, and

a superimposition of layers of different rhythmic patterns. The asymmetrical rhythmic

meters serve the shaping of interesting melodic gestures, especially when they are

contrasted with simple meters.

The character of the additive time signatures is unique because of the sense of the

prolongation of one of their sections. The feeling of the unbalanced rhythm, like 9/8

grouped 2+2+2+3, for instance, is by default a source of energy for the development of

the piece. However, multiple repetitions of the same additive time signature may result in

a dance-like or even a monotonous and static pattern.

In Osmosis/Zymosis, the additive rhythms are used as molds of rhythmic

microforms that need to be varied by accents on non-accented beats or by the addition of

rhythmic patterns that modify their main structure, in order to be vivified. A characteristic

example of this approach can be found in mm. 249-250, where the piano employs a

contrasting rhythm that alters the metric pattern of 3+2 with the use of a syncopation, and

the marimba uses accents on non-accented beats (see ex. 67).


79

In general, the additive time signatures are part of the character of the gestures. The 5/8

(3+2), 7/8 (3+2+2) and 9/8 (2+2+2+3) metres share the same logic of construction, which

is the juxtaposition of a combination of patterns of two and three eighth notes. The

combined use of these metres provides the music with variation and cohesiveness.

Furthermore, the asymmetrical nature of these metres results in a dynamic flow of the

rhythm, since the patterns of two eighth notes come as a reaction to the pattern of three

eighth notes and vice versa.

80

3. Conclusion

Composing with gestures is a broad and flexible approach to creative work that

encompasses many aspects relating to the development of musical material and

compositional techniques, and the compositional process itself. This key statement

summarizes my approach to the integration of elements from Eastern Mediterranean folk

music into Western contemporary music.

In Osmosis/Zymosis, a gesture leads to another gesture, satisfying the action-

reaction axiom. The equivalent practice in folk music to this technique is the

collaborative improvisation that usually takes place in the prolongation of a song or tune,

when needed.

Looking at the work as a whole, the two major parts are also “gestures” of

integration. The bridging climax symbolizes the composer’s growth towards a higher

level of understanding of cross-cultural communication. However, the previous state of

the unfiltered material in the “Osmosis” section is needed to show this progress.

“Osmosis” and “Zymosis” are two sides of the same coin.

As shown in the synoptic table, the nature of the gestures in the “Osmosis” part is

different from those in the “Zymosis” part. The basic difference is the use of gestures as

micro-forms in the “Zymosis” part. The gestures in the “Zymosis” part shape the

surrounding material producing micro-forms, which have distinct character (ethos) and

motion (kinesis).

This compositional process constitutes an enrichment of current compositional

practices by providing an open technique, which may encompass many compositional

practices and methods. Because of this, composing with gestures may prove to be useful

81

for composers in approaching cross-cultural communication as a holistic phenomenon.

The result of this compositional process may also prove attractive to audiences

experiencing this organic integration of elements from other cultures into Western

contemporary music. Osmosis/Zymosis presents my personal approach to the use of

gestures as a compositional process that aims to stimulate a collective discussion about

cross-cultural communication.

82

Works Cited

Anogianakis, Foivos. Greek Traditional Musical Instruments. Athens: Melissa, 1991.

Berio, Luciano. Remembering the Future. Cambridge: Harvard University Press, 2006.

Bohlman, Philip. “Ontologies of Music.” Rethinking Music. Edited by Nicholas Cook and

Mark Everist. Oxford: Oxford University Press, 1999.

Eco, Umberto. The Open Work. Translated by Anna Cancogni. Cambridge: Harvard

University Press, 1989.

Floros, Constantin. Universale Neumenkunde. Kassel-Wilhelmshöhe: Bärenreiter-Verlag,

1970.

Greenberg, Clement. “Avant-Garde and Kitsch.” Partisan Review 6:5 (1939): 34-49.

http://www.merriam-webster.com/dictionary/ethos?show=0&t=1366948690 (accessed

April 25, 2013).

Karayanni, Stavros Stavrou. Dancing Fear and Desire: Race, Sexuality and Imperial

Politics in Middle Eastern Dance. Waterloo: Wilfrid Laurier University press,

2004.

Kurtág, György. Grabstein für Stephan: in memoriam Stephan Stein. Op. 15/c. 1989.

Budapest, 1989. Print. Edition Musica.

---. Játékok I. 1973-78. Paris, 2004. Print. Editions Henry Lemoine.

Levinson, Jerrold. Music in the Moment. Ithaca: Cornell University press, 1997.

Ligeti, György. Étude 6 : Automne à Varsovie. Études pour piano. 1985. Mainz, 1986.

Print. Schott Musik International.

Nancarrow, Conlon. Collected Studies for Player Piano. Vols. 2-6. N.d. Mainz, 1989.

Print. Schott Music.

83

Sallis, Friedemann. “Introduction.” Centre and Periphery, Roots and Exile: Interpreting

the Music of István Anhalt, György Kurtág, and Sándor Veress. Edited by

Friedemann Sallis, Robin Elliott, and Kenneth DeLong. Waterloo: Wilfrid Laurier

University Press, 2011.

Schoenberg, Arnold. The Musical Idea and the Logic, Technique, and Art of its

Presentation. Τranslated and edited by Patricia Carpenter and Severine Neff.

Bloomington: Indiana University Press, 2006.

Suchoff, Benjamin. ed. Béla Bartók Essays. Lincoln and London: University of Nebraska

Press, 1993.

Sullivan, Graeme. Art Practice as Research: Inquiry in Visual Arts. 2nd edition. Los

Angeles, London, New Delhi, Singapore, Washington DC: SAGE Publications,

2010.

84

Appendix A: Score

Michalis Andronikou

Osmosis/Zymosis

2012

85

Instrumentation

Flute Clarinet in Bb

Violin Violoncello

Percussion 1: Marimba Percussion 2: 4 Cymbals, Tam-tam,

Bongos, Timbales, Snare drum, Bass drum Piano

Duration: ca. 20 minutes

86

Notes 1. The score is in C.

2. Accidentals carry through measure.

3. The tremolos are always unmeasured.

4. Dotted bar lines are for coordination only.

5. Glissandos without ending are to fade out naturally at any point of the measure at any ending note.

6. Percussion: L.V. = Let vibrate.

7. Snare Drum: Snares on.

8. Flute and violin: = Slow and wide vibrato

9. Snare Drum: = Rim shot

10. Flute and clarinet: = Tongue slap

11. Violoncello: = Seagull. This technique, first used by George Crumb in

Vox Balaenae (1971), is executed by setting an artificial harmonic position in a high register of the fingerboard and sliding into the lower

register without altering the hand shape, in order to produce an effect, resembling the cry of the seagull.

12. Violin: The “harmonic glissando” is achieved by executing a glissando with a finger set lightly on

the string, as if fingering a harmonic. The result is an arpeggiation of the string’s fundamental harmonic series.

13. Flute: = Tongue ram

14. Flute: = Blow through instrument, breath sound

15. Flute: = Jet Whistle

16. Violin: = Slow ¼ tone vibrato ad libitum

17. Flute: = Timbral trill.

18. Piano: Aeolian harp: The name of this particular extended technique for the piano was given after the homonymous piano piece (1923) by

Henry Cowell, in which thepianist'ssweepinghandsdirectlyacrossthestringsofthepianoimitatethesoundoftheharp’sglissando.

19. Tam-tam: = centre (note on the line) – edge (note above the line)

87

Instruments’ layout

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?

ã

&

?

42

42

42

42

42

42

42

Fl.

Bb Cl.

Vln.

Vlc.

S.Dr.

Pno.

67

67

Œ œ œ œ œ

67œ œ œb œ

œ œ œ œ

ruff

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F

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‰

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.

j

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.

j

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.

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99

ª

&

&

&

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ã

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&

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Fl.

Bb Cl.

Vln.

Vlc.

S.Dr.

B. Dr.

Pno.

71 œ

Œ

‰

œ œb œ œ œ

71

˙

x x x x x x ‰ x x

3 3

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71 .œ

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f

f

f

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˙

x x x ‰ x x x ‰

3 3

‰ J

œ

‰ J

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f (unmeasured)

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P

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Vln.

Vlc.

S.Dr.

B. Dr.

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Pno.

75˙b

æ

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b

3

x x x x x x ‰ x x

3 3

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F

f

˙

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æ

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j

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j

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(unmeasured)

ƒ

x x x ‰ x x x ‰

3 3‰

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˙

˙b

b

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f

f

100

ª

&

&

&

?

&

?

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ã

ã

ã

&

?

Fl.

Bb Cl.

Vln.

Vlc.


T.T.

S.Dr.

B. Dr.

Mrb.

Pno.

79

79

œk

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‰

j

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>

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k

‰

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A

>

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79

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3 3

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æ

Œ

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tongue slaps

F

F

F p

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j

>

j

>

‰ ‰ j

>

˙

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J

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j

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sul G harm. gliss.

P

p

&

&

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?

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?

Fl.

Bb Cl.

Vln.

Vlc.


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Pno.

83‰

j

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j

>

j

>

‰ ‰ j

>

83

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J

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f

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P

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f

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f F

f F

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101

ª

&

&

&

?

&

?

Bb Cl.

Vln.

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Pno.

87Œ

œ

k

r

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k

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œ

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‰ j

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F

f

F

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r

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k

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J

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˙˙˙˙bggg

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k r

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œ

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‰j

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j

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p

˙

˙b

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ƒ

F

f

F

&

&

&

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&

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ã

&

?

Fl.

Bb Cl.

Vln.

Vlc.


S.Dr.

Mrb.

Pno.

91

91 ˙

˙

æ

91œ

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91

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f

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˙

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f

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f

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f

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‰J

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°

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C

M.S.

102

ª

&

&

&

?

&

?

ãã

&

?

Fl.

Bb Cl.

Vln.

Vlc.


Mrb.

Pno.

95

95Œ

œ

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95˙˙

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95

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‰J

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*

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f

pizz.

f

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æ

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°

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f

f

F(unmeasured) L.V.

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F

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˙

æ

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F

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Fl.

Bb Cl.

Vln.

Vlc.


Mrb.

Pno.

99

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99˙˙

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99

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f

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103

ª

&

&

&

?

&

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?

Fl.

Bb Cl.

Vln.

Vlc.

Mrb.

Pno.

103‰

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3

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3

103

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Œ

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p

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&

&

?

&

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?

Fl.

Vln.

Vlc.

Mrb.

Pno.

107

107 œ œ œ# œ# œ# œ œ

107˙˙

æ

107Œ

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>

‰

J

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J

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°

f

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détaché

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f

détaché F

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F

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F

F

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104

ª

&

&

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?

Fl.

Bb Cl.

Vln.

Vlc.

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Pno.

111œ

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111Œ

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111‰

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f

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f

f

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F

F

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‰

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&

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?

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?

Fl.

Bb Cl.

Vln.

Vlc.

Mrb.

Pno.

115

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115Œ

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115˙˙

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115‰

j

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‰

j

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f

f

f

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‰

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j

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f

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Œ

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>

‰J

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˙˙

°

f

détaché F

F

M.S.

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œ œ œ œ# œ#

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##

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f

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F

105

ª

&

&

&

?

&

?

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?

Fl.

Bb Cl.

Vln.

Vlc.

Mrb.

Pno.

119r

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119˙

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119Œ

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119‰

j

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˙˙

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F

p

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f

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r

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pizz.

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&

&

?

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?

Bb Cl.

Mrb.

Pno.

123Œ

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123˙˙

æ

123‰

j

œœ

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F

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J

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°

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*

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f

&

&

?

&

?

&

?

Bb Cl.

Vln.

Vlc.

Mrb.

Pno.

127

127œ

œ Œ

127œ Œ

127‰

j

œœ

##

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˙

˙#

F

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##

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F

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‰

J

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F

M.S.

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33

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*

œ

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F

106

ª

ª

&

&

&

?

&

?

ãã

&

?

Fl.

Bb Cl.

Vln.

Vlc.


Mrb.

Pno.

131 œb œb œ œ œ œ œ œ œ œ œ œ

3 3 3 3

˙#

131œ

œ Œ

131

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œ

131

131‰

j

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##

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˙

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F

F

F

Œ

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3 3

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œ

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## ‰

J

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œ

œ

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Œ

˙

˙

F

F

F

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F

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F

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3 3

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P

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F

&

&

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?

ã

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&

?

Fl.

Bb Cl.

Vln.

Vlc.

Cym. 2

S.Dr.

Mrb.

Pno.

135 ˙b

135

œ

œb œ

3

135

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135 œb œ œ œ œ œ œ œ œ œ œ œ œ

*

F

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‰

J

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k

Œ

Œ

œ œbœb

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5

F

F

P

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ritenuto

ritenuto

ritenuto

ritenuto

ritenuto

ritenuto

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‰

J

œœ

k

Œ

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j

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3

F f

f

P

P

p

F

arco

q»•¢j

>‰ Œ

j

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>

r

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‰

J

œœ

k

œ œb

>

œb

œb

tongue slap

tongue slap

F

F

inside pianomute

Superballmallet

rub across the surface

p

‰ j

>

j

> ‰

‰ j

>

j

> ‰

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œ

r

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œb œ œ

3

f

moltoritardando

moltoritardando

moltoritardando

moltoritardando

moltoritardando

moltoritardando

F

moltoritardando

F

107

ª

&

&

&

?

&

?

ãã

ã

&

?

Fl.

Bb Cl.

Vln.

Vlc.


B. Dr.

Mrb.

Pno.

140Œ

Œ

140

˙b

æ

140

œb

>

œ œ œ œœ

œœ œ

œbœ

œ

œ

œb

œ

140

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140

œ

°

+

>

Œ

F

F

F

L.V.F

ƒ

(mute at bridge)

F

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f

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f

œb

æ

œæ

œbæ

3

œbæ

œæ

f

ƒ

(unmeasured)

j

>‰ Œ

j

>‰ Œ

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Œ Œ œ

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tongue slap

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f

f

f

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r

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r

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3

‰

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+

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+

Œ

3

f

f

(simile)

ordinario

f

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3

˙

˙

æ

œŒ

˙

æ

f

subito p

p

F

p

(unmeasured)

(unmeasured)

&

&

?

&

?

ãã

ã

&

?

Fl.

Vln.

Vlc.


B. Dr.

Mrb.

Pno.

145 ˙b

145

145

145

œ Œ

‰ œ œ Œ

3145

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+

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+

Œ

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3

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(simile)

F

œœ

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J

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æ

œ

æ

‰

J

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œ

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F

F

F

ordinario

f

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˙

æ

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J

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˙

æ

‰

J

œ Œ

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Œ

œ

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P

L.V.F

F

f

108

ª

&

&

&

?

&

?

ãã

&

?

Fl.

Bb Cl.

Vln.

Vlc.


Mrb.

Pno.

149 ˙

œœ

œ .œj

œb

149˙b

æ

˙

æ

149

œ

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149

F

P

P

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æ

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3

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r

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3

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æ

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F

f

L.V.F

r

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˙

˙

accel.

accel.

accel.

accel.

accel.

accel.

accel.

&

?

&

?

ãã

&

?

Vln.

Vlc.


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Pno.

153˙

˙

bæ

˙

˙

bæ

153˙

˙b

b

æ

153

˙

æ

153˙b

˙

˙

P

P

F

(unmeasured) L.V.

F

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œ

f

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b

3

˙

˙

˙

˙

bæ

˙

˙

bæ

˙

˙b

b

æ

˙

æ

˙b

˙

˙

P

P

(unmeasured) L.V. F

P

109

ª

&

&

&

?

ã

ã

&

?

Fl.

Bb Cl.

Vln.

Vlc.

Bgo. Dr.

B. Dr.

Pno.

157

œb œbœk

œA œAœ

3

157

˙æ

˙

æ

157

F

œb œb

˙

˙æ

˙

æ

J

œ œ

J

œ

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œb œb œœ

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F P

p

f

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pizz.

pizz.

F

j

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j

œ

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J

œ

J

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J

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f

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f

&

&

?

ã

ã

ã

Bb Cl.

Vln.

Vlc.

Bgo. Dr.

Timb.B. Dr.

161

161

œœ

œœ

œ œ

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Appendix B: The Recording of the Première PleaseseeattachedCD.

171

B.1 About the Concert

Osmosis/Zymosis was performed by Land's End Ensemble, at the “2013

Happening Festival of New Music and Media,” on January 25, 2013, at the Rosza Centre,

University of Calgary. The ensemble under the artistic director and conductor Laura

Jayne Bowler, comprised:

John Lowry, violin

Beth Root Sandvoss, cello

Lucie Jones, flute

Andrew Morrow, clarinet

Kyle Eustace, marimba

Eric Bumstead, percussion

Matthew Blackburn, piano

B.2 The Concert Program Note

Osmosis/Zymosis is a work of ca. twenty minutes, for a mixed chamber ensemble

(augmented “Pierrot ensemble”), comprising flute, clarinet, violin, violoncello, piano and

percussion, based on the idea of the integration of “gestures,” as used in the Eastern

Mediterranean music tradition, into Western music tradition. The title consists of two

terms which are often used in science for certain chemical processes. “Osmosis” is the

gradual absorption and “Zymosis” is the development, the process or the spread of an

infection. Both these Greek words are also useful for the description of the blending of

172

cultures, especially for individuals who face displacement or immigration. A related

concept in anthropology would be the rite of passage, a ritual event that marks a person’s

transition from one status to another. A music composition that incorporates elements

from one culture to another, is even more than that. Both the process and the resulting

work are steps towards musical maturity and openness. In many ways the integration of

music elements from one culture to another is a “glimpse to the future,” which could be

helpful in bridging cultural and aesthetic differences.

osmosis/zymosis: the integration of eastern mediterranean

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