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# Piano soloist performing in the Experimental Theater. | # Piano soloist performing in the Experimental Theater. | ||
# An accompanying instrumental quartet performing in the Recital hall. | # An accompanying instrumental quartet performing in the Recital hall. | ||
The instruments in the quartet are | ===The instruments in the quartet are=== | ||
* Clarinet | * Clarinet | ||
* Guitar | * Guitar | ||
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# A one hour-long composition with twelve short musical movements: | # A one hour-long composition with twelve short musical movements: | ||
Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems) | Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems) | ||
3. An intermission is designed in the middle of the performance: | |||
* Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall] | * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall] | ||
4. Musical motive and structure (relevant to spatial motives and characters of the spaces): | |||
* Linear direction [for the pitch of the Piano solo, relevant to Recital Hall] | * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall] | ||
* Circular motion [for the accompaniment, relevant to the Experimental Theater] | * Circular motion [for the accompaniment, relevant to the Experimental Theater] | ||
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# Aesthetic aspects: | # Aesthetic aspects: | ||
* Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them. | * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them. | ||
2. Create sonic motives and gestures specific to each space and integrate them into the composition musically. | |||
* Virtual presence, physical exchange, and telematic transcendence of the audience members | * Virtual presence, physical exchange, and telematic transcendence of the audience members | ||
3. Technical aspects: | |||
It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. | It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. | ||
* sonic spatiality | * sonic spatiality | ||
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==Musical idea and different version== | ==Musical idea and different version== | ||
Solo version | |||
Ensemble and concert version | |||
Telematic version | |||
Compare between productions of opera and opera in concert | Compare between productions of opera and opera in concert | ||
Laterncy, special musical practices of performance: | Laterncy, special musical practices of performance: | ||
- Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play | |||
- Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and | |||
other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play | |||
==Ideas Drafting== | |||
[[File:Fugue of Spaces-1.JPG|left|thumb|Concert hall]][[File:Fugue of Spaces-2.JPG|left|thumb|Black box theater]] |
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