Premiered by Jean-Francois Charles at the University of Iowa Composer's Workshop Concert on 04-29-2017

In Transition involves the process of spectral transformation through non-linear distortion disseminated through articulations which are determined according to their position in registral space. Evolving drones intermittently appear to anchor the pitch material to the fundamental of each section. Surface features such as density of articulations, dynamics, and duration are tied structurally to the stage of interpolation of spectral distortion within which they occur.

In Transition - Bb Clarinet and Live Electronics - 2017

Premiered by Chris Bram in the Voxman Concert Hall at University of Iowa for SCI's 24/24 Concert event.

Program Notes -

De-Constriction demonstrates a polyvalent exploration of pitch and rhythmic processes that are effected through musical layers which themselves are delineated by register and temporality. The musical materials are presented in "constricted" form within a middle section that is opposed in the introduction and extricated and recontextualized in the conclusion.

De-Constriction For Classical Guitar - 2018

Read by the University of Iowa Center for New Music on 2-26-2019

Program Note -

Seed-Turbulence-Iteration explores the application of chaos theory and fractal geometry onto the musical parameters of a work constructed for chamber orchestra. Verhulst's Logistic Map and Devaney's Gingerbreadman Map are the dynamic systems from which melodic contour and temporal duration are derived. These algorithms are used to produce heterophonic and polyphonic results that iterate for a set duration before restarting. Each new beginning involves a change in density (of individual lines, as well as points of articulation in time), orchestration, register, and the pitch reservoir. All pitches are derived from quantized spectra that interpolate from a state of harmonicity to inharmonicity on top of changing fundamentals. Each stage of interpolation coincides with the reseting of algorithmic iterations. Self-similarity and self-affinity are represented vertically, in the family resemblances of the lines produced within each algorithm that occur inside of a given segment, as well as horizontally, in the reiterations that occur over time. Each algorithmic reiteration and each copy within a set of iterations has varied starting or “seed” conditions that produce differentiated results of greater or lesser degrees which are presented in non-linear, strategic arrangement.

Seed-Turbulence-Iteration For Chamber Orchestra - 2019

Conceived as an exegesis on the application of chaos theory (particularly Verhulst's logistic map, Devaney's Gingerbread man map, and Duffing's oscillator) on textural variation. After source sounds were manipulated using these functions as LFOs, filtering was used on the recording within Audiosculpt. The chaotic and filtered materials have an aperiodic alternation before they are synthesized together. Additionally, panning throughout is controlled through scaled fractal noise. The binaural result is fixed constant throughout the piece.

Atomizing-Aperiodicity for Fixed Media - 2018

Fracture/Morphosis examines the relationship of structurally controlled variation amongst a group of gestural identities that undergo digitally induced transformation. Each instrument is provided a group of gestural models that are presented in unaltered form at the onset of the piece. The gestures are learned and then recognized by software. As the piece unfolds, the gestures are given a range of transformation on their constituent elements (e.g. pitch range, duration, timbre, etc...) wherein the cumulative effect of variation provides structural generation. Simultaneously, each gesture identity is recognized and then processed/transformed with chaotic algorithms in the course of their sonic diffusion. 

Performers 
Andrew Willette - Violin 
Will Yager - Double Bass 
Alexander Spenceri - Trombone

Fracture/Morphosis for Trombone, Violin, Double Bass, and Live Electronics - 2018

These works were inspired by a series of paintings that came from artist/architect Max Bill's studio. The spectrographic quality of the sound source material was transformed through IRCAM's Audiosculpt software in order to represent my perception of a temporal auditory unfolding of the original images.

Kreuzform Gruppen

Memories Behind

Blau und Rot Lichtwerte

Logischen Abstrakten

Soundtrack for film by Ainsley Tharp. Film can be found here https://vimeo.com/257029448

Film featured in Women Cinemakers. Interview with Ainsley in magazine can be found here https://issuu.com/womencinemakers.specialedition/docs/i/140

Soundtrack for Collection is no Longer Limited by Geography

Premiered by Sonic Apricity (Erik Rohde - violin and Jacob Tews - viola) at Wet Ink Concert 2 during the Alba Music Festival in Alba, Italy on 5/30/2019. This performance is taken from a studio recording session on 5/31/2019.

Program Notes -

Conceived as a series of short character pieces, Six Miniatures explores fixed connective pitch material against variable/transformative rhythmic, dynamic, and textural parameters through a series of episodes.

Miniatures -

I. Amorphous/Becoming
II. Violent
III. Diffuse
IV. Antagonistic
V. Mechanical/Fractured
VI. Deterioration

Six Miniatures for Violin and Viola - 2019

Premiered and performed at Hancher Auditorium for Dance Gala 2019 - IN Motion - on November 16th and 17th, this work was a soundtrack to Armando Duarte's dance "Struggle for Pleasure."

Featuring 
 
LIGAMENT - Will Yager and Anika Kildegaard, Double Bass and Mezzo-Soprano

LOUI - Ramin Roshandel (Setar)
Vahid Jahandari (Electric Violin)
Anshuman  Sahu (Synthesizer)
Abi Whitford (Double Bass)

Joseph Norman - Live Electronics

Program Notes -

Excrescence features the duet of vocalist and bassist in a primary role while the variable instrumentation of a laptop orchestra accompanies with unfixed musical material. The duet is augmented by live electronic processing that serves to enhance/delineate structure and provide an independent layer of development. Musically, the piece expresses a form based on a narrative separation within the duet and this divergence is represented metaphorically through register, density, and character.

Excrescence for Mezzo-Soprano and Double Bass with Laptop Orchestra - 2019

Some silliness with a phone app during a weird time in history. Playing around turned into some reflection after the fact and this was the result.

Scissor Snips - Kaosillator - 2020

Joseph Norman recently completed the Doctoral Degree in Music Composition at the University of Iowa where he also had been Research Assistant/Composer/Sound Technician to the Department of Dance for three years. Dr. Norman was advised by Dr. David Gompper. Previously, Dr. Norman studied with Dr. Joshua Levine, Dr. Nomi Epstein, and Dr. Lawrence Fritts. Dr. Norman has participated in private lessons with Laura Elise Schwendinger, Richard Causton, Mikhail Malt, Grégoire Lorieux, Ketty Nez, Dimitri Papageorgiou, Elanie Lillios, David Lang, Joseph Dangerfield, Augusta Read Thomas, and Louis Karchin. 

Dr. Norman's music has been performed at the Exchange of Midwest Collegiate Composers UMKC and University of Colorado in Boulder, the Midwest Composers Symposium in the University of Michigan and the Cincinnati College Conservatory of Music, SCI at the University of Iowa, and the Alba Music Festival in Alba, Italy. He has also had works read and premiered by the JACK Quartet, Accroche Note, LIGAMENT, Sonic Apricity, the Center for New Music at the University of Iowa, and LOUi, the Lap Top Orchestra also from University of Iowa. Additionally, Dr. Norman has composed collaboratively with actors, dancers, choreographers, and filmmakers. He is also active as a performer with experimental music duo Aligned at Variance and has taken part in IRCAM's Electroacoustic workshop in 2017.

Dr. Norman completed his Master's Degree in Music Composition at the University of Maryland while under the tutelage of Dr. Thomas DeLio and Dr. Lawrence Moss. Prior, he received his Bachelor of Arts Degree in Music Composition and Classical Guitar Performance from St. Mary's College of Maryland. While there Mr. Norman studied composition with Dr. David Froom and Dr. John Leupold, and classical guitar performance with
Dr. Orlando Roman.

Dr. Norman explores novel formal conceptions that involve organizations/transformations of multiple conceptual strata. These strata differentiate, recontextualize, and evolve towards individuated trajectories over the course of each piece. Each strata can comprise one of myriad parameters from pitch, timbre, time, texture, space, register, to density. Aesthetically, he values music that is evocative of visceral reactions and represents sonic transformation.  Dr. Norman's influences include: Chaya Czernowin, Rebecca Saunders, Brian Ferneyhough, Tristan Murail, György Ligeti, Iannis Xenakis, Karlheinz Stockhausen, Giacinto Scelsi, and Anton Webern.

Joseph Norman - Composer

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