Subject 1 ODESSA Research Team Subject 1 ODESSA Research Team

Introduction | Subject 1 | ODESSA I

Perception of a Violin Section | Orchestral Distribution Effects in Sound, Space and Acoustics

This subject is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 89–97. The goal was to examine differences between either a single violin, two violins, three violins, four violins, six violins, or the entire section.

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Subject 2 ODESSA Research Team Subject 2 ODESSA Research Team

Introduction | Subject 2 | ODESSA I

Study on Counterpoint and Energy | Orchestral Distribution Effects in Sound, Space and Acoustics

From: Tchaikovsky Symphony no. 6. mov. i, mm. 170–185, to study how counterpoint and orchestration are used as a way to enhance energy. Example A is the orchestration of just the string section, playing the thematic and motivic counterpoint Example B is the orchestration of just the woodwinds and brass sections Example C is the original tutti scored by Tchaikovsky

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Subject 3 ODESSA Research Team Subject 3 ODESSA Research Team

Introduction | Subject 3 | ODESSA I

Study of Counterpoint and Climax | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 3 is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 284-304. The goal was to study the building of an orchestral climax and hyper-romantic counterpoint. Example A is the Winds (no fl), horn, trumpet, trombones, tuba, timpani: harmony+ counter-subject. Example B is the Flute, violin I, violin II, viola, cello: melody alone. Example C is the Tutti. Example D is the Tutti (extended section).

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Subject 4.1 ODESSA Research Team Subject 4.1 ODESSA Research Team

Introduction | Subject 4.1 | ODESSA I

Study of Counterpoint and Strata | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 4.1 is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 305-313. The goal was to study orchestration strata and hyper-romantic counterpoint. Example A is the harmony only: Horns, Trombones, Tuba, Timpani, Viola, Cello, Contrabass. Example B is the contrechant only: Oboe, Clarinet, Bassoon, add Viola, Cella at m.309. Example C is the melody only: Flute, Violin I & II, add oboe (m. 311), add clarinet (m. 312). Example D is the original orchestration.

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Subject 4.2 ODESSA Research Team Subject 4.2 ODESSA Research Team

Introduction | Subject 4.2 | ODESSA I

Study of Poetic Affect | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 4.2 is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 305-309. The goal was to examine how a poetic demand from the conductor can change the orchestra’s playing. Example A is the orchestra playing “normal. Example B is the orchestra playing like a “Bridge of Ice.”

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