Preface

 

During my Bachelor studies in Classical Composition, I often felt the need of giving eloquent titles to my pieces, which did not only describe the idea behind the piece through words, but rather implied that the piece was a story in itself.  Titles like “Murder in a Glass” (piano solo), “Confrontations with a Mathematician” (string quartet), “The Strange Story of the Five Angry Insects” (wind quintet), “Confetti Cannot Become Snow” (sextet), “This War Has Already Been Led” (septet) or “Storm Over a House in Leymen” (orchestral) suggest that the music in these pieces aims to describe characters and events. However, at that time my titles were merely a connection between the musical content of the pieces and the imagination of the listeners. Although music is a universal language, my music was still abstract and I was not composing pieces with a clear message or plot in my mind. Things changed when I came to Hamburg and started learning Max/MSP/Jitter. A whole new world opened for me with countless possibilities of translating, mapping and expressing ideas through computer-aided media. Out of all, the combination between music and the realm of video, as well as the freedom of controlling multiple parameters of the audio-visual elements in real-time, were the most significant additions that allowed me to further develop my techniques of storytelling. The multimedia pieces written during my Master studies in Hamburg have emerged from different thoughts that have troubled me recently and convinced me to share them with other people. Since I am more of an introverted person, I referred to art in order to make a sense of these thoughts and emotions. This thesis explores the methods employed in the process of composing my pieces, while trying to explain their premises and purposes; in short – their narrativity.

 

Constantin Basica

Bucharest, the 14th of October 2011