Published by Madacy Jazz 10 October, 2020 and withdrawn 14 October, 2020.
Revised edition*.
Recorded August—October 2020 in Hell (oh, it's real alright).
Direct all inquiries, comments, etc. to kierod@gmail.com

*Notable revisions subsequent to 23 October 2020 publication:
24 October 2020: Track 2 added, liner notes significantly edited.
26 October 2020: Track 8 added, liner notes again edited.
27 October 2020: Track 6 added, Track 9 replaced.

Many of these pieces again, as is my current wont, focus on chaotic synthesis of continuous low frequency pulse-train jitter and pattern morphologies—the arbitrary 'injections of periodicity' into a nonlinear dynamical system—as emergent structural determinants of timbre ('spectral complexes') and time envelopes of local event onset and termination (amplitude, attack-decay form, etc). The pieces are an attempt to respond to the problem of the structural projection of multiply-segregated macrostructural pulse-streams ('macroscale duty cycles') as a monophonic texture, wherein the segregation of such is composed by nonlinear jitter and microfluctuation endemic to the conditions under which the pulse-stream is articulated. The dynamics of nonlinear jitter are ostensibly manifested as variable, asymmetrical degrees of 'stress' and 'accent' within their respective pulse-stream that preempt the stratification of global pulse (tactus) salience due to insufficient onset-to-onset uniformity by which to supervene upon adjacent pulse streams within a composition (Roeder 1994, 1995; Parncutt 1994).

Tracks 7-13, "Linear antiphonal synthesis (1a-e)", were composed by real-time orderings of low-frequency lookup tables (contour segments) as frequency and amplitude modulation indices for a single audio oscillator. Such orderings are logically classical: total, antisymmetric, and transitive. Weighted stochastic time-domain functions generated the composite parametric information—amplitude, phase, etc—determining each lookup table. Linear antiphony projects a texture of adjacent heteromorphic, incomparable sonic configurations within a single monophonic stream.

Tracks 14-15 exhibit total orderings of pitch-classes from a trichordal array (14) and all-partition array (15). Such orderings were generated using a weighted probability distribution that maintain invariance of row-class structure within each lyne-part of the array in adherence with ordering protocol (Lewin 1976; Mead 1994; Babbitt 1987; Mailman 2020). Registral octave spans were defined by the orientation of lynes within each column of the trichordal array—totaling, in this case, four different registers. Order-invariant note event lengths, positions, and dynamics were pseudorandomly generated by the "Humanize" MIDI transform in Logic Pro X (14) and a nonlinear feedback network of a function generator, comparator, and resonant bandpass filter bank (15). "Weighted probabilistic total ordering of a four-part E-type trichordal array block for digital FM synthesizer" exhibits two distinct total orderings of the same trichordal array distributed across eight registral spans. One will observe what might initially appear to be octave duplications are actually pitch-class repetitions that belong to non-adjacent lynes. These repetitions are merely the result of their 'aesthetically neutral' probabilistic total ordering relations and the saturated interval content of the array from which they are determined.

Babbitt, M. (1987). Milton Babbitt: Words about Music. Univ of Wisconsin Press.
Lewin, D. (1976). On Partial Ordering. Perspectives of New Music, 14(2): 252-257.
Mailman, J. B. (2020). Portmantonality and Babbitt's Poetics of Double Entendre. Music Theory Online, 26(2).
Mead, A. (1994). An introduction to the music of Milton Babbitt. Princeton University Press.
Parncutt, R. (1994). A perceptual model of pulse salience and metrical accent in musical rhythms. Music perception, 11(4), 409-464.
Roeder, J. (1994). Interacting Pulse Streams in Schoenberg's Atonal Polyphony. Music Theory Spectrum, 16(2): 231-249.
Roeder, J. (1995). A calculus of accent. Journal of Music Theory, 39(1): 1-46.
Valsamakis, N., & Miranda, E. R. (2005). Iterative sound synthesis by means of cross-coupled digital oscillators. Digital Creativity, 16(2), 90-98.