DAHMER
Is there evil in a name?
The first of a series. This composition was created by a pattern. I convert each letter of Dahmer's name into a pattern of tones and use serialism to create melody. The length of each subsequent measure is determined by an integer in the birth and death dates of the subject. The melody that emerged was quite disturbing. This melody, when played by slightly out of tune instruments juxtaposed with perfectly tuned instruments creates a sense of dread. A slow crescendo builds throughout the piece to accentuate the growth of evil in the mind of a killer, eventually fading into silence as he meets his just end.
The purpose of this series is to examine the concept of intrinsic evil. Are some of us evil by nature, or are we driven to it by our choices and the environment?
Is there evil in a name?
The first of a series. This composition was created by a pattern. I convert each letter of Dahmer's name into a pattern of tones and use serialism to create melody. The length of each subsequent measure is determined by an integer in the birth and death dates of the subject. The melody that emerged was quite disturbing. This melody, when played by slightly out of tune instruments juxtaposed with perfectly tuned instruments creates a sense of dread. A slow crescendo builds throughout the piece to accentuate the growth of evil in the mind of a killer, eventually fading into silence as he meets his just end.
The purpose of this series is to examine the concept of intrinsic evil. Are some of us evil by nature, or are we driven to it by our choices and the environment?
MANSON
The second in the series, "Is there evil in a name?". In similar fashion to its predecessor, this composition uses serialism based on a conversion of the letters of the full name "Charles Milles Manson" with measure length and position being determined by birth and death dates of the subject. The patterned melody is layered through different time signatures for different instruments. A crescendo builds throughout the composition culminating in a sudden finish. Eery melodic figures are accentuated by the use of dissonance and a polyphony based on a flat five intervalic motion. The result is a chilling, bleak sound that is analgous with demented thinking.
The second in the series, "Is there evil in a name?". In similar fashion to its predecessor, this composition uses serialism based on a conversion of the letters of the full name "Charles Milles Manson" with measure length and position being determined by birth and death dates of the subject. The patterned melody is layered through different time signatures for different instruments. A crescendo builds throughout the composition culminating in a sudden finish. Eery melodic figures are accentuated by the use of dissonance and a polyphony based on a flat five intervalic motion. The result is a chilling, bleak sound that is analgous with demented thinking.