Mal

Mal For Divergent Trio

Dedicated to Dr. Carol Rambo, Tucker Johnson Dr. Baljinder Sekhon Dr. Steven Rice Dr. Robert morris Penn State Composition department And the social workers, Lena and Hannah

(2021)

By Austin White Ca 6’

Mal Austin White 2021 Ca 6’

Program Notes Sociologist Carol Rambo (affiliated with the University of Memphis) uses the methodological framework of autoethnography to publish her work. She accounts through sociological introspection her past of childhood sexual trauma (csa), as well as addressing subjects regarding intellectual disability. A publication of particular interest of mine is on loving and hating my mentally retarded mother (excuse the anachronistic terminology, the paper was written in the 90’s). My Interest in her work is deeply personal, as I am a survivor of childhood sexual abuse and grew up with a sister who is diagnosed with ASD level III (severe and profound autism). My first encounter with Dr. Rambo’s work planted a deep seed in my subconscious as the raw, unfiltered, brave self expression of her experiences astounded me. I imagine that the impetus for her work comes from a sense of responsibility to advocate and represent an extremely taboo and disenfranchised community of csa survivors, as well as family members of those with ID’s.

In this previous spring semester at Pennsylvania State University I began receiving therapy for my own trauma, and ended up getting diagnosed with Post Traumatic Stress Disorder (PTSD). Within the middle of this previous semester I became hospitalized and had my first flashback experience.

During this time two social workers named Lena and Hannah helped me pull out of this surreal dissociative experience during a video call with my mother. I became 9 years old during the flashback and relived the horrifying memories of my abuse. It felt as though I was rescued by Lena and Hannah and I am forever grateful for them helping me through my first flashback experience.

Mal is a piece that is inspired by principles of autoethnography. The compositional process itself came from my own personal experiences dealing with PTSD this semester while trying to compose. I became obsessed to the point of delirium with a particular tone-row known as the Mallalieu series (discovered by the mathematician Pholman Mallalieu). I was introduced to this series by my colleague Tucker Johnson (BA composition Penn State University 2021, MA Eastman School of Music 2023). I then Discovered Robert Morris’s work NOT LILACS, which uses the Mallalieu series. This especially set off my infatuation with the Mallalieu row and the general concept of musical self-referentiality. The Mallalieu series has several interesting properties - such as Retrograde 6 invariance (transposing the prime form of the series by the musical interval of a tritone reproduces the same result as the original), but the most interesting aspect of this series is that it nearly self embeds its own transpositions. I utilized this self embedding property by creating large cyclical arrays out of each consecutive trichord within the series (group of three musical notes) and assigning them within each numeric value of the prime form (prime form refers to the original order of the tone-row series). I completed this systematic process for every iteration of the prime form (retrograde, Inversion, Retrograde Inversion) and by doing this throughout the semester, I managed to stay emotionally stable enough to survive the trauma work I was doing. In a sense, the process of composing became an act of therapy out of what I can only describe as

mortal intuition. The rhythmic content from this work uses prime number arrays strongly based on the sums of each derived pitch cycle's cardinality.

The text of this work comes from reflections upon the agonizing rhetoric that csa trauma causes.

I have tried my best to be as authentic and vulnerable as possible, even though what I ended up writing as text makes me deeply uncomfortable. It is important that the listener keeps in mind that this is a part of my healing process as a trauma survivor and not representative of some sort of grandiose narrative regarding my struggles or what I think about csa in general. This is a form of musical self portrait. After all, the prefix Mal, which has origins from the language of Afrikaans, means something along the lines of “crazy”.

My composition instructors Dr.Baljinder Sekhon and Dr.Steven Rice at Penn State have been beyond understanding with my diagnosis of PTSD and I am deeply indebted to them for their support. I would be remorseful in not mentioning this. Thanks to all my compositional peers at PSU as well for forming a support system for me.

Performance notes DISCLAIMER: This is to be used to help clarify my intentions (the composer). I advocate for any performance of my work that my word is not rule of law, and I much prefer for performers to know my intentions and then make their own decisions. Once a performer plays my music, I personally believe they “own” the work more than myself. Please feel free to disregard intentions if it is in the best interest of the musical performance.

General Commentary: The pitch content of this work is completely serialized, and the durations and overlapping of tones is highly intentional and controlled within the score. The introduction is fairly straightforward, Durations are absolute in this section.

Rehearsal mark A should not feel too metrical but still should have each measure equal its durational unit. Slight rubato at times at the discretion of performers is encouraged, but it is imperative that time is taken and returned, not stolen. The metric modulation is absolute and precise, and each consecutive throughout this piece are as well. do not approximate the metric modulations if possible.

Rehearsal mark B should have a contrast in character. Duration is always absolute, but as long as dotted lines are present slight rubato just like in rehearsal mark A is acceptable.

Rehearsal mark C should occur spontaneously and be strict in time. After the metric modulation returns to the previous tempi of rehearsal marks A & B, return to similar character as B. See specified voice performance notes for deeper interpretive explanation of the vocal part.

Rehearsal mark D is similar to C. Rehearsal mark E is intended to be performed in a musical theater like manner. Acting and theatrical production, movement & acting on stage by the vocalist is encouraged. Avoid sarcasm and be committedly over the top. Read specific voice performance notes for deeper interpretive explanation of the vocal part.

Rehearsal mark F is the same as the introduction.

Notation (General): Accidentals only apply to the notes they are next to (tied notes hold there accidental unless otherwise specified, but do not carry over the accidental to all other reactivated notes in the same pitch class family within the measure the note is tied too).

Example a:

assuming treble clef, these pitches are all C#.

assuming treble clef, these pitches are D# and D natural.

The use of dotted bar-lines are to help facilitate sight reading, and not an indication of meter.

When they are used, it means there are no agogic inflections within the measure. The use of regular bar lines implies metric feel as usual.

Example:

Also, dashed lines may be used to help facilitate rhythmic coordination between parts in the master score.

Example:

The use of slashed note heads implies distorted tone production. Meaning partial scratch tone for viola and raspy/belting tone for voice.

Example:

X note heads are used to specify non pitched content. They will always appear with an instruction on how to interpret them within the score. Their placement within the staff refers to either contour, string muting, or just a rhythmic placeholder for unspecified pitch material (will always be located in the middle of the staff if this is the case).

Example:

The use of arrow noteheads indicates unspecified registral extremes of pitch.

Example

The indication of a plus next to the dynamic simply means a little louder than indicated. It is usually used to clarify what instrument should be the most present within the balance of the ensemble

Text

Due to the research based framework of this piece, I believe displaying the text without the systematic musical context is counter-productive to the intent of the work. The pitch language is a part of the auto-ethnographic account and the text by itself is not representative of the methodological practice.

Mal

7 Austin White

"Spacious"

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Copyright © Austin White. All Rights Reserved.

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him

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him

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2 r 5≈ ‰™ 12 ‰ #œ 8 8 œ. p > “. ” ## œœ 2 12 8 8

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mf

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diphthong

mf 56

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8 &8 Œ

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ki

-

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ll

him

˙

f

5"

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5" Vla.

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8 & 8 bœ

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bœ

Ϫ

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5

q = q giusto "q = 77.76"

58

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4 &8

Manic & Theatrical, *to be sung stylistically in a musical theater/rock production manner, commitedly over the top - no sarcasm*

ff +

bœ

œ

tor

-

-

bœ

5œ 8

ture

-

>œ 3 3 #œ # œ- œ. # œ- J > > >œ #œ ‰

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f

4 &8 ‰

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{

? 48

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ff

5≈ 8

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Œ

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>œ

7 8 œJ

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b >-œœ B 48 œœ ≈ J

>œ œ

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it's

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4 &8 ‰

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b >œ œ ≈ bœ œ

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‰

7 8 bœ œ ‰ ™ >œ‘ œ “

3 8

> b -œœ œœ J J

3 8

worth

b >-œœ

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‰

3

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*adjust dynamics accordingly to vocalists projection but do not loose rhythmic drive, think "rock/jazz/pop fusion band that is dynamically reserved and tight in the pocket" use pedal ad libitum to connect notes and project bass ressonance, it is up to the performer to decide how much is necessary for balanced mix of ensemble - but do not distort articulation.

Rests are left to help display counting.*

for

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5 8

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≈

5‰ 8

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3

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HA HA! *gasp*

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AN - Y MORE

CARE

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harsh like a distorted guitar

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sfz

sfz

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hale*

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¿

¿ ¿

j ¿

I

just want

to

3

2+3 & 8

j ¿ get

21

1+3 8 ¿ *In - hale*

sustain d string while glissing on g

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œœ.

2+3 B 8 J

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so

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*Think "history of substance abuse" avoid sarcasm*

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ha *gasp*

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≈ 3+2 8

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3+2 & 8 ‰

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to

let's

slide up from behind the nut.

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3+2 8

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≈

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bœœ. bœœ.

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>-. > œ ≈ ≈ -œ. 5+2 œ œ 8

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me

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hell

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in

crunched pronounciation

85

Vla.

burn

25

2+3 8

3

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bœ

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‰

bœ

j bœ œ-. >

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bœ œ ‰

≈

≈ bœ œ

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7 8

7 8

26 87

S.

No meter and as slow as possible within breathing marks (dotted slur = 1 breath) think feldman

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7 &8

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U ∑

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drown

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B 87 ‰

> ≈ #œ-œ œœ R

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7 & 8 ‰™

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‰

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wait for ringing to die down significantly

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fff

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p 90

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pp

w

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see

tear

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bw

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don't

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pp

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w

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drops

fall

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cluster A - C#

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cluster Eb - G

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