Selected Nebulae, by Samuel Pellman

Selected Nebulae consists of a suite of short movements inspired by images taken of nebulae in deep space by the orbiting “Great Observatories” (Hubble, Spitzer, Chandra, and Compton). The technology of the space age has been accompanied by the development of digital audio technology that has made it possible for a composer to depict the unusual conditions and environments that our exploration of space has revealed to us. These short pieces have been composed for virtual instruments that have been very carefully tuned, in most cases, according to the simple-ratio arithmetic of just intonation. The computer has also been employed to execute algorithmic processes to assist the composer in the design of sonic textures reminiscent of the richness and ethereality of the serene and immense objects featured in the Great Observatory photography.

All of these compositions have been realized with a Symbolic Sound Kyma system. Additional aspects of the sound design were implemented with Max/MSP/Jitter, Logic, and Pro Tools.

To experience versions of these pieces that are accompanied by videos, created in collaboration with video artist Miranda Raimondi, visit the Selected Nebulae album on vimeo.com.

for digital sounds

In m45 an algorithm for generating cellular automata has shaped the dynamic harmonic structure of the long bass tones and the rhythms of the “celestial handbells.” The pitch relationships among the drones are governed by a technique of adaptive just intonation, and the pitch relationships among the bells are based on a scale formed of four tones that are equal-tempered divisions of a pure major sixth

Click to hear a stereo mix of the surround sound version: mp3 file (2.8 MB)

Click here to go to vimeo.com to see the video by Miranda Raimondi!

for digital sounds in just intonation

The music for ngc2080 features an extended melody for a digitally re-synthesized hybrid of central Asian woodwind instruments. It is tuned in 7-limit just intonation.

Click to hear a stereo mix of the surround sound version: mp3 file (3.5 MB)

Click here to go to vimeo.com to see a video by Miranda Raimondi!
Click here to go to vimeo.com to see another video by Miranda Raimondi!

for digital sounds in just intonation

ngc2818 features an extended melody performed on a physical model created by Harm Visser of a plucked metal-stringed instrument, tuned in 5-limit just intonation. The cascading gestures in the accompaniment are performed on a physical model of a nylon-stringed harp. The burbling, vibraphone-like sounds that also accompany the melody have been patterned by a second-order Markov algorithm.

Click to hear a stereo mix of the surround sound version: mp3 file (2.7 MB)

Click here to go to vimeo.com to see a video by Miranda Raimondi!

for digital sounds in just intonation

3C461 is tuned in 5-limit just intonation and consists of five streams of alternating tones whose patterns of pitch and rhythm have been generated by a second-order Markov algorithm.

Click to hear a stereo mix of the surround sound version: mp3 file (3.6 MB)

for digital sounds in just intonation

An extended melody, with many microtonal trills and subtle vibrato effects, is performed by a physical model of an Armenian duduk as the foreground element of m17. This is accompanied by plucked-string drones and shimmering bells, similarly modeled on the acoustical properties of actual instruments. The pitches of the movement are tuned in 7-limit just intonation and drawn from the Lydian-dominant scale

Click to hear a stereo mix of the surround sound version: mp3 file (4 MB)

Click here to go to vimeo.com to see a video by Miranda Raimondi!

for digital sounds in just intonation

The pitches for ngc1999 are tuned in a 7-limit just intonation.

Click to hear a stereo mix of the surround sound version: mp3 file (2.6 MB)

Click here to go to vimeo.com to see the video by Miranda Raimondi!

for digital sounds in just intonation

An algorithm for generating cellular automata has shaped the voicing of the repeated chords in the opening passage of ngc6357 (and in subsequent recurrences of this texture) and has determined the selection of pitches in the more pointillistic passages that provide contrasting textures. The pitches are tuned in a 5-limit just intonation and are sounded by physical modeling instruments developed for the Kyma by Harm Visser.

Click to hear a stereo mix of the surround sound version: mp3 file (2.6 MB)

Click here to go to vimeo.com to see a video by Miranda Raimondi!