Minimalism: Exploring Narrative

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Story Final Piece

‘Story,’ is a short film by Liam J McLaughlin. This work features winter/frosty scenes, scenes of water, trees, buildings and nature. There are 11 words which appear on screen throughout the work and feature white block writing on a black background interposed between scenes. The work also initially featured no sound except that of fast-moving water at the waterfall scenes.

An analysis of the words within the piece conveyed a feeling of isolation and loneliness. The words red, white and blue feature in the piece and I felt an implication of the American ‘Star Spangled Banner,’ often referred to as the ‘Red, White and Blue,’ often in reference to patriotism or military support. In fact, the initial lyrics to Creedence Clearwater Revivals anti-war song ‘Fortunate son’ begin…

‘Some folks are born, made to raise the flag,

Ooh they’re red, white and blue’.

The final words in the piece, Dragged, Contain, Held conveyed a foreboding message to me although unclear I felt an influence of captivity and isolation from these final words. Treating the overall visuals and words I developed a keyword reference to apply music to, isolation, space, movement, slavery, captivity, alone, definition, expanse, technology, progress, warning. I felt that the images overall suggested a juxtaposition between nature and man-made influence on the environment. 

The instrumentation of the piece involves 5 synthesizer using varied settings and an ensemble strings sound. There was no set decision behind this amount of synth’s rather than other instruments except that the relationship between instruments could be adjusting in very small increments on the oscillators and related settings. Synths could also generate the softer tones of ‘nature’ and also facilitate the more ‘metallic’ sounds used later. 

I used a G4 note pulse throughout the majority of the piece, this provided a grounding and reference point for the initial image of a frosty field with a few bare trees. The pulse is played on a synth ‘JX Pulse’ which provides a ‘piano’ effect with a short release. Another feature throughout the majority of the piece are 2 drones playing a G1 and D2 below the pulse. The lower drone is performed on a classic 90’s synth sound and the slightly higher drone on a pad ‘Analogue Bell.’ 

At 00:22:00 a fast-moving waterfall enters and to highlight this I duplicated the pulse and staggered this slightly in the DAW to create a phasing effect. This effect is intended to highlight the speed of the waterfall and movement of water.

At 00:32:00, the scene alters to fast flowing water coming from the base of a concrete structure. For this I again duplicated the pulse and staggered this again against the previous two pulses creating a denser ‘phase.’ At 00:49:00 the waterfall returns and a repeated pattern of D, G, C, G plays over the phased pulse and low drones again emphasizing the movement of water but building tension about the increased water visuals. 

At 00:58:00 seconds, there is a return to the initial scene, trees, frost and space and a return to the initial music, single pulse and drones. Preceding the next scene at 01:08:00 is the word ‘Block,’ which is followed by a scene of a large open, frosted field with a row of trees filling the width of the horizon. The use of ‘Block’, and the row of trees in this position, low on the horizon made me think impassable, almost like being confronted with an army and shield wall holding the onlooker in place. To highlight this, I introduced 2 higher drones, an initial pad style synth playing E5 followed by a slightly lower A4. The use of 4 drones over this visual was intended to highlight isolation and space. 

At 01:24:00 the low drones drop out of the piece and strings enter playing a B3 and D4 (3rd and 5th) with the pulsing G. This is intended as a juxtaposition of the blurred visual scene showing a ‘clarity’ over the blurred image. The next word at 01:39:00 is ‘White’ which could imply ‘purity.’ At the next scene 01:45:00 the scene reveals a close up of tree branches in a clear shot, visibly frosted. At this point a brief pulsing B5 is played which is intended to reinforce the close up of nature and mimic bird song. 

At 02:00:00 the low drones, ostinato pattern and 3 phased pulses return for the return of the close-up waterfall scene. 

At 02:11:00 an image of the rear of a building appears which resembles a hanger, barracks or military style building. For this the pulse disappears highlighting the removal of nature, the low drones continue but a new drone enters with a synth playing a G1 using a breathy, metallic sound which enters the scene abruptly highlighting the sudden entrance of a structure but the metallic sound highlighting the man-made object in conflict with the natural environment. 

02:23:00 returns to the open field with trees on horizon and a return to the higher synths overlaying the single pulse and low drones. 

02:48:00 Everything drops out over the word ‘Dragged’ for the entrance of another ‘structure’ scene. This scene shows what appears to be the same hanger style building this time from the side. There is an increase in pitch of the accompanying ‘metallic,’ ‘breathy’ synth which this time plays a higher A1. This is intended to imply development in the changing visuals building towards an unknown resolution but still highlighting the juxtaposition of a man-made object on nature. 

03:15:00 returns to the waterfall, 3 phased pulses and low drones. 

03.31:00 Offers an uncertain resolution with the same synth returning along with another structure this time returning to the root but this time playing the root G3 an octave below the pulse. The scene this time contains several elements from the overall visual work. There is a line of trees, lone bare trees, frosted ground showing space to the horizon and a structure containing the original structures but also a new structure with what appears to be windows. This felt like a resolution to the overall nature vs man made visually as well as musically. 

03:47:00 shows the return of the waterfall briefly as the music fades. Again, this sees the return of the three phased pulses and low drones until the fade. 

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‘Story’ The Process:

The initial process for creating a sonic narrative for ‘Story’ involved creating 4 pieces of music using ‘minimalist’ and ‘post minimalist’ techniques. Initially using ‘Finale’ to compose 2 contrapuntal instruments ‘oboe’ and ‘flute’ each playing the same note values across the initial 2 bars. The flute initially plays the root and major third for 2 bars while the oboe plays the minor 6th and minor 2nd for 1 bar with and minor 6th and major 3rd for the following bar. The flute then begins the addition/subtraction process. 1+2, 1+2+3, 1+2+3+4, 1+2+3+4+5 (3 and 5 being quarter rests). Bar 6 begins the reverse of this process or the ‘subtraction’ beginning on the quarter rest 5+4+3+2+1, 4+3+2+1, 4+3+2+1, 3+2+1, 2+1. A choral voice sings a legato note along bars 2, 3, 5, 6, 8 and 9 with a staccato major 2nd on bars 3 and 6 and a staccato 5th on bar 9. Harper (et.al) suggest that the note addition and repetition had a large impact on ‘Philip Glass’ who utilized these featured throughout the Godfrey Reggio’s non narrative works, Koyaanisqatsi, Powaqqatsi, Naqoyqatsi. In Koyaanisqatsi (1983), the repeated tones are used alongside contradictory images of technology and nature to emphasise the titles meaning ’life out of balance’ (Cahir, 2014). The images in the video ‘Story’ for which this was a concept for similarly involves images of nature, space and latterly, building across an icy, snow environment.

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In the 2nd concept piece, I initially focussed on creating drones. In this case the root not G and minor 6th E played an octave below. Borrowing from La Monte Youngs B & F# ‘to be held for a long time’, (Potter 2002) I wanted to experiment with a minor 6th to place with the barren, snowy landscape in the ‘Story’ video. Richardson et al. (2013) describe the bleakness and stasis in the aesthetic of a prolonged drone. The accompanying synth uses two repetitive notes, Major 4 and root then minor 3rd then root. This synth uses a slight distortion, delay, and a phaser modulation. Although intended as a counterpoint to the drone’s narrative of ‘sparseness,’ The effect being more electronic than natural could lend itself more towards a sci-fi or dystopian theme. Bernand and Mera (2006) Offer an insight into the use of drones to amplify a sequence of visuals without narrative commentary. Goldmark et.al (2007) discuss the 1983 Godfrey Reggio film Koyaanisqatsi and the juxtaposition of technology and nature as the main theme. The more ‘distorted’ and ‘metallic’ synth highlights the buildings which appear towards the end of the ‘story’ visuals.

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The third exploration involved a repetitive theme played on guitar. The guitar repeats a simple motif around Em originally intended to gradually progress into the second faster theme. As an experiment in metamusic and overtones, I used a ‘groove delay’ plugin to provide a delay effect which also provided an overtone echo of the minor 7th (D) and Root (E). Repetition is a key feature of minimalism (Potter et. al, 2013), in this case the intended use to convey the fast movement of water. Smith (2014) Highlights the work of Philip Glass in Godfrey Reggio’s ‘Qatsi’ series on films as well as their continued collaboration throughout the 1990’s and 00’s. Visitors (2013) is a work developed from two of Reggio’s short movies Anima Mundi (1992) and Evidence (1995) showing scenes of wildlife, the moon’s surface, and nature. Smith writing in the financial times suggests that Glass’ music provides what Reggio’s footage lacks rather than matching the images.

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The final concept and the one I have chosen to develop similarly used the non-commentary Koyaanisqatsi as reference for minimalism within film however I also utilised just intonation tuning, phasing, and steady pulse as well as repetition, layering and drones as shown in the other pieces.  The initial short concept used drones, pulse, and phase. The drones were tuned to G and D using just intervals so an adjustment of 0.11ct was increased on each note using the synths fine tuner. This would make the notes relationship to each other the same if they were tuned in equal temperament for a perfect 4th interval however the ct. increase, I hoped would offset further instruments slightly. A pulsing G note, in this case inspired by the pulsing C not of Terry Riley’s In C, was intended to provide a feeling of constant movement. I then duplicated the pulse track twice offsetting the track slightly each time building the phasing affect to suggest intensity of movement particularly for the water movement. Gann (1993) details the just intonation tuning of La Monte Youngs Well Tuned Piano (1964). Young had kept the ‘secrets’ of his tunings until he finally agreed to release the details to the public after CD releases made analysis easier. Youngs work revolved around seven-limit tuning so that no prime numbers larger than 7 appear as factors (Gann, 1993). This tuning is new to me, although it predates Bach, I was able to utilize Khz frequency diagrams of tunings showing Pythagorean, just intonation and equal temperament to discern the .ct + and – for the two drones I wanted to use. The use of the drones playing a perfect 5th was an intentional ‘nod’ to La Monte Youngs B&F# ‘to be held for a long time, in fact the drones only drop out of the final piece briefly when ‘nature’ and an up close shot of tree branches is shown on the film. Higher pitched drones are used to highlight the scenes of a frosty meadow, the frost highlighted by the higher pitch and open wide shot by the breadth of drone. Donnelly (2023) Highlights the use of drones in The Fog (1980) as a diegetic sound suggesting that when the drone is heard but the fog is not seen on screen, the fog is still present to the character and audience. Similarly with the use of the drones underpinning the majority of ‘story,’ the theme of space, cold, frost is ever present.

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Cahir, L, C. (2014) Literature into Film: Theory and Practical Approaches. Macfarland.

Donnelly, k, J. (2023) The Synergy of Music and Image in Audiovisual Culture: Half-Heard Sounds and Peripheral Visions. Taylor & Francis

Goldmark, D., Kramer, L., & Leppert, R. (2007). Beyond the soundtrack: representing music in cinema. Retrieved from https://hdl-handle-net.uhi.idm.oclc.org/2027/heb08024.0001.001.

Gann, K. (1993). La Monte Young's 'The Well-Tuned Piano.' (Minimalism Forum). Perspectives of New Music, 31(1), 134+. https://link-gale-com.uhi.idm.oclc.org/apps/doc/A14016899/ITOF?u=uhipswd&sid=oclc&xid=626ce878

 Harper, G., Doughty, D and Jochen, E. (eds). (2014) Sound and Music in Film and Visual Media: Acritical Overview. Bloomsbury Publishing, USA.

Mera, M., Burnand, D. (2006) European Film Music. Ashgate Publishing

Richardson, J., Gorbman, C and Vernallis, C. (eds). The Oxford Handbook of New Audiovisual Aesthetics. Oxford Unbiversity Press.

Smith, Ken. "Cinema with a touch of Glass." Financial Times, 28 Jan. 2014, p. 11. Gale Academic OneFile, link.gale.com/apps/doc/A356853465/AONE?u=uhipswd&sid=bookmark-AONE&xid=0961cb68. Accessed 5 Nov. 2024.