sonata number twenty-four sonata number twenty-one (waldstein) sonata number twenty-two sonata number five sonata number twenty-three(appasionata)

Transcription

1 sonata number one or solo iano sonata number two sonata number three sonata number our (der verleibte) sonata number ive sonata number eight (athetique) sonata number six sonata number seven sonata number nine sonata Number ten sonata number thirteen sonata number iteen (astorale) Sonata number seventeen (der sturm) sonata number nineteen Sonata number twenty sonata number sixteen sonata number eighteen sonata number ourteen(mondschein) sonata number twenty-four sonata number twenty-one (waldstein) sonata number twenty-two sonata number eleven sonata number twenty-three(aasionata) sonata number twenty-ive sonata number twenty-seven sonata number twelve (thérèse) sonata number twenty-six sonata number twenty-eight Sonata number thirty sonata number twenty-nine (hammerklavier) by David Pocknee sonata number thirty-one sonata number thirty-two

2 ABOUT THE PIECE A mesostic is a oetic orm invented by John Cage. A mesostic takes a target text and embeds it into the sine o the writing, similar to the way in which an acrostic will embed a target text into the irst letter o each line - an examle can be seen on the ront o this score. This iano iece is robably the world s irst ever musical mesostic. Starting with a corus o all 2 o Beethoven's Keyboard Sonatas, this iece uses an ascending, ive-octave chromatic scale as a "target text", built by collaging together ragments o Beethoven's sonatas. The work was made using an lis algorithm with ollowing aroach: 1. Order the Beethoven Sonatas sequentially rom Start with a blank score, rom here on reerred to as the "mesostic score".. Start rom the irst bar o the irst Beethoven sonata and move orward note-by-note searching or the irst note o the ascending, ive-octave chromatic scale (the G an octave below the lowest line o the bass cle). 4. When this note has been ound, coy all o the music in the sonata that occurs during the duration o this note. 5. Paste the coied music into the beginning o the mesostic score. 6. Go back to the Beethoven sonata. Search orward note-by-note rom the osition directly ater the end o the section o music that was coied, looking or the next note in the ascending scale. 7. When the note has been ound, coy all o the music that occurs during the duration o this note. 8. Paste the coied music into the mesostic score, directly ater the end o the last segment o music coied in. 9. Reeat instructions 6-8. I you reach the end o a sonata, start at the beginning o the next one. I you reach the end o the ascending scale, start back at the beginning, and kee looing until the end o the iece. The work ends when you reach the end o the 2nd sonata. Figure 1 shows this rocess in action at the very oening o the iece. It shows the actual sections o music rom the Beethoven sonatas that were coied to make the mesostic in the centre. It is noticeable that not all o the notes are coied rom each section. This is due to a coding error with the rogram (mid2asc.exe) which I used to translate MIDI data o the sonatas into more easily maniulable text data which my Lis algorithm could oerate uon. However, this unintentional error created a leasing transarency to the harmony o the work that aids creating continuity between each collaged section. Figure 1. Origin o quotations in the irst line o A Beethoven Mesostic Bb - Sonata 2 - Largo Aasionato - bar 61 G# & A- Sonata 2 - Allegro Vivace - bar 101 q=100 sz sz sz G - Sonata 1 - Adagio - bar 25 C# - Sonata - Allegro - bar 10 B - Sonata 2 - Largo - bar 76 C - Sonata - Allegro - bar 1

3 Thie ollowing tables give the ositions in each Beethoven sonata that sulied the material or each consecutive section o this iece. Inormation given is the target note, the number o the sonata, the beat in the MIDI ile in which this note occurs and the duration which this note (and subsequently the section) lasts or. Imortant note: All o these bar numbers reer to the MIDI encoding o the sonata and not the notation. These are oten dierent, due to how reeats are encoded and other idiosyncrasies o the MIDI ormat. Additionally, the durations are oten rounded to odd values due to errors in the conversion rom MIDI to text and the quantization o the MIDI to 240 ticks er second. Target Sonata Sonata Source Starting Beat o Duration o itch Pitch Number Pitch (in beats) 1 G /2 2 G# /2 59/240 A /240 4 Bb /240 5 B /2 119/240 6 C /240 7 C# /240 8 D /240 9 Eb / E / F / F# /240 1 G / G# / A /2 119/ Bb / B / C /48 19 C# / D / Eb /48 22 E /2 119/240 2 F /48 24 F# /2 77/ G /2 77/ G# / A / Bb 265+1/2 77/ B /240 0 C /2 77/240 1 C# /2 77/240 2 D / /240 Eb / /240 4 E /2 77/240 5 F /8 29/240 6 F# /240 7 G /2 119/240 8 G# /240 9 A /2 119/ Bb /2 77/ B / C /240 4 C# /2 19/60 44 D /2 19/60 45 Eb /2 1+59/ E /2 1+59/ F / F# /2 59/ G / G# / A /4 29/ Bb /2 29/120 5 B /4 29/ C / C# /4 29/ D /2 29/ Eb / 29/ E /6 29/ F / F# / G / G# /240 6 A / Bb / B / C / C# / D /6 1/6 69 Eb /2 70 E F F# /2 59/240 7 G /2 59/ G# /4 59/ A / Bb / B / C / C# / D / Eb /2 59/ E /240 8 F / F# / G /2 14/15 86 G# /2 1+29/ A /2 119/ Bb 7 7+1/12 1+4/ B /2 119/ C / C# / D /240 9 Eb /2 119/ E /2 89/ F /15 96 F# / G / G# /96 99 A / Bb /48 Target Sonata Sonata Source Starting Beat o Duration o itch Pitch Number Pitch (in beats) 101 B /2 1/ C / C# /4 59/ D /2 59/ Eb /4 59/ E / F /4 59/ F# /2 59/ G /4 59/ G# / A /4 59/ Bb /2 59/ B /4 59/ C / C# /4 59/ D /2 59/ Eb /4 59/ E / F /2 29/ F# / G / G# / A / Bb / B / C / C# / D /4 1/4 129 Eb /4 1/4 10 E /2 1/2 11 F /2 1/2 12 F# /4 1 G /2 14 G# /2 1+1/60 15 A /2 1/2 16 Bb / B / 1/6 18 C /6 1/6 19 C# /4 140 D /2 1/4 141 Eb /4 59/ E /4 59/ F /2 59/ F# / G / G# / A /4 59/ Bb / B /2 59/ C /2 11/ C# /4 59/ D /4 59/ Eb /4 59/ E /2 59/ F / F# / G / G# /4 59/ A /4 59/ Bb /4 59/ B / C / C# /4 59/ D /4 59/ Eb /4 59/ E / F /2 89/ F# / G /2 89/ G# / A /8 29/ Bb /4 29/ B /8 29/ C /2 29/ C# /8 29/ D /4 19/ Eb /6 19/ E /12 19/ F / F# / G / G# / A /2 89/ Bb / B /2 59/ C / C# /2 59/ D / Eb / E /2 89/ F /2 77/ F# / 1/80 19 G / G# / A / Bb / B /2 119/ C /2 119/ C# / 17/ D /80

4 Target Sonata Sonata Source Starting Beat o Duration o itch Pitch Number Pitch (in beats) 201 Eb / E /4 59/ F / F# / G /4 59/ G# /2 119/ A / Bb /2 77/ B /4 59/ C / C# /2 119/ D /2 119/ Eb / E /4 59/ F / F# / G / G# / A / Bb /4 59/ B /2 59/ C /2 29/ C# / D /2 +29/ Eb /2 119/ E / 1/ F /2 119/ F# /4 59/ G /4 59/ G# /4 59/ A /2 59/ Bb /4 59/240 2 B / C / C# / D /4 47/ Eb /4 47/ E /2 119/ F /4 59/ F# / G /4 59/ G# / A /4 59/ Bb / B / C / C# D Eb /2 1/2 250 E / F /2 1/ F# /4 25 G G# /2 255 A /5 256 Bb B /2 258 C /2 259 C# /4 260 D /2 /4 261 Eb / E /96 26 F / F# / G / G# / A / Bb / B / C / C# / D / Eb /2 119/ E / F / F# / G / G# /2 119/ A / Bb / B / C / C# /2 119/ D / Eb / E /2 59/ F /2 91/ F# / G / G# /2 59/ A / Bb / B /4 47/ C /4 47/ C# / D / Eb /6 1/ E / F /4 61/ F# /240 Target Sonata Sonata Source Starting Beat o Duration o itch Pitch Number Pitch (in beats) 01 G / G# /240 0 A / Bb / B / C /2 119/ C# / D / / Eb / E / / F / / F# /240 1 G / G# /4 59/ A /4 59/ Bb / B /4 59/ C /4 59/ C# / D / Eb /2 119/ E /2 119/240 2 F /2 119/ F# / G /2 2/80 26 G# /4 59/ A / Bb /4 59/ B /2 59/240 0 C /240 1 C# /2 59/240 2 D /4 59/240 Eb /240 4 E /240 5 F /240 6 F# /2 119/240 7 G /240 8 G# /240 9 A / Bb / 5/80 41 B / 5/80 42 C / 5/80 4 C# / D / Eb / E / F / F# /2 119/ G / G# /2 119/ A /2 119/ Bb /240 5 B /2 119/ C / C# /2 119/ D /2 119/ Eb / E / F /2 119/ F# / G / G# /240 6 A /2 2/48 64 Bb /2 2/48 65 B / C / C# / D / Eb /4 59/ E / F / F# /240 7 G /2 119/ G# / A / Bb / B / C / C# / D / Eb /2 119/ E /2 59/240 8 F / F# /2 59/ G / G# /2 119/ A / Bb /2 119/ B /2 59/ C /4 59/ C# / D /4 59/240 9 Eb / E / F /2 119/ F# /4 59/ G /2 59/ G# /2 59/ A /4 59/ Bb /240 Target Sonata Sonata Source Starting Beat o Duration o itch Pitch Number Pitch (in beats) 401 B /6 1/ C /2 59/ C# /2 59/ D /2 59/ Eb /4 59/ E /4 59/ F /2 59/ F# /2 119/ G /2 119/ G# /2 119/ A / Bb /6 1/80 41 B /2 119/ C / C# / D /6 1/ Eb /6 1/ E / F /6 1/ F# / G / G# /2 119/ A / Bb / B / C /2 119/ C# /2 119/ D / / Eb / E / F / F# /240 4 G / G# / A /2 119/ Bb / 79/ B / 79/ C / 79/ C# /8 49/ D / Eb / E /4 59/ F /2 59/ F# / G /8 29/ G# /8 29/ A /4 29/ Bb /2 59/ B /4 59/ C / C# / D / 79/ Eb / 77/ E / F / F# /2 119/ G / / G# /2 119/ A / Bb / B / C /2 119/ C# /2 119/ D / Eb / 79/ E / / F / F# /2 59/ G / G# /4 59/ A /5 472 Bb /5 47 B /2 1/4 474 C /2 475 C# /4 1/5 476 D /2 1/5 477 Eb /4 1/5 478 E /2 1/5 479 F /4 1/5 480 F# /2 1/5 481 G /2 1/6 482 G# /2 1/40 48 A /5 484 Bb /2 485 B /5 486 C /2 1/5 487 C# /8 1+11/2 488 D /8 1+11/2 489 Eb / 490 E / F /6 1/6 492 F# / 1+1/ 49 G /24 5/ G# / 5/ A / 5/24

5 q=100 sz A Beethoven Mesostic sz David Pocknee Miami, rev rev rev

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