Dissertation

My dissertation for my DMA, entitled "The Influence of Cinematic Elements in Pierre Jodlowski's Works Based on Colour," was inspired by a strong interest in the German Expressionist Cinematography and Hollywood Film Noir. My doctoral advisor John Milbauer, who had performed Série Noire in the Seventh Orleans Concours International (O.C.I.) as semifinalist, suggested this work as a possible starting point for multidisciplinary fine arts research. Série Noire was presented as a " a multi fictional space where characters, heroes of different films would meet and exchange," featuring audio clips from thrillers and dark films. My desire to analyze how Série Noire functioned as a musical depiction of "mise-en-scène" led to further research on diegetic/non-diegetic sound in film. After an interview with Jodlowski, I discovered that he intended to create an entire "series cycle" of piano Works Based on Colour featuring audio from films, including Série Blanche and Série Rose. Jodlowski has continued his Works Based on Colour with Série Bleue, a piece "directly inspired by my personal encounter with the blue monochromatic paintings from Yves Klein."

The full dissertation may be viewed through the website of composer Pierre Jodlowski here. 

PROPOSAL ABSTRACT

"The Influence of Cinematic Elements in Pierre Jodlowski's Works Based on Colour"

by Owyang, Angela. D.M.A., the University of Arizona, 2014, 138 pages. 

Pierre Jodlowski's Works Based on Colour consist of three pieces: Série Noire (2005), Série Blanche (2007), and Série Rose (2012) pour piano et dispositif électroacoustique. According to the composer, "each colour provides an opportunity to investigate a particular link of music with imagery." The pieces serve as a musical representation of cinematic elements through the synchronization of music and sound effects. The musical language of the cycle draws influences from various sources including the music of expressionism, musique concrète, as well as standard soundtrack scoring. The intermingling of various melodies, harmonies, and rhythms creates a synthesis between the piano and the electroacoustic soundtrack (tape). In Pierre Jodlowski's Works Based on Colour, he seeks to form an interdisciplinary collaboration between music and visual multimedia. The composer's interest in cinematography and mental processes is evident through his selective mixing of audio effects, sounds (real sounds versus synthesized sounds), and piano. 

According to Jodlowski the visual aspects, or mise-en-scène, of cinema should surface in the minds of the listener after hearing each of the works. Jodlowski's method of mixing involves several techniques: the insertion of fragments of dialogue from various films, tinkering with inanimate objects, pre-recorded sounds of nature, and the distortion of sonic effects and instrumentation. Jodlowski's Works Based on Colour stir the listener's imagination through the clear delineation of contrasting sections, the dialogue-like interaction between the tape and the piano, and the inclusion of dialogue and sound effects from various films. A performer should have knowledge of cinematic elements, understand the purpose of cinematic concepts and their significance for a cinematic viewer, and recognize their function in Jodlowski's works before performing the Works Based on Colour.