The first sketches of Source Code began as transcriptions of various sources from African American artists prominent during the peak of the Civil Rights era in the United States. I experimented by re-interpreting gestures, sentences, and musical syntax (the bare bones of rhythm and inflection) by choreographer Alvin Ailey, poets Langston Hughes and Rita Dove, and the great jazz songstress Ella Fitzgerald into musical sentences and tone paintings. Ultimately, this exercise of listening, re-imagining, and transcribing led me back to the Black spiritual as a common musical source across all three genres. The spiritual is a significant part of the DNA of Black folk music, and subsequently most (arguably all) American pop music forms that have developed to the present day. This one-movement work is a kind of dirge, which centers on a melody based on syntax derived from Black spirituals. The melody is continuous and cycles through like a gene strand with which all other textures play.
All glissandos should be very audible and as slow as possible.
Dashes indicate emphasis, a “lean” on the note with no space. Tenuto.
— Jessie Montgomery
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