The Influence Of “Scale-Free” Networks In The 1 Sonata

Authors

Keywords:

complexity, second modernity, rich get richer, hubs, Six Degrees of Separation, Barabási

Abstract

This article will discuss the influence of scale-free networks on my 1 sonata (Sélection, 5th Dutilleux International Composition Compétition, 2003) for piano. An important feature of scale-free networks is that they are regulated by a small number of important nodes/hubs that are connected to many other sites. Following a power law distribution, research has found that a majority of nodes have only a few links, while a small minority of nodes have an enormous number of links, known as hubs. After a brief introduction, I will present four concepts and their applications in the 1 Sonata.

Author Biography

  • Michael Edward Edgerton, Malmö Academy of Music, Lund University, Malmö, Sweden

    Michael Edward Edgerton is an active composer with performances around the world. His compositions have received international prizes and recognition. Since the mid-90s Michael’s compositions have been informed by scientific models and metaphors that stem from his studies into voice science. Since then, he’s built a body of work that explores the integration of nonlinear concepts applied to sound production and compositional constraints. While the methods and systems he develops are often influenced by science, it is his intuition – his ear that gives birth to the music.

    As composer, researcher and performer, he has presented new developments in the search for the limits of sound production. Notably, he has systematically investigated extra-normal singing using the tools of voice science and psychoacoustics and is the author of THE 21St CENTURY VOICE (Rowman & Littlefield).

    Michael holds a D.M.A. in Composition from the University of Illinois and is Professor of Artistic Research at Lund University/the Malmö Academy of Music.

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Published

15.12.2021

How to Cite

The Influence Of “Scale-Free” Networks In The 1 Sonata. (2021). INSAM Journal of Contemporary Music, Art and Technology, 7, 28-34. https://insamjournal.com/index.php/ij/article/view/14