Ouroboros— a single-movement, fourteen-minute work scored for flute, alto flute, B-flat clarinet (doubling bass clarinet), bassoon, horn, B-flat trumpet (doubling B-flat flugelhorn), bass trombone, three percussionists, harp, piano, violin, viola, violoncello, and contrabass— is a work that lacks melodies, motives, clear harmonic shifts, perceivable changes in dynamics and timbre, audible articulations, and a discernible pulse. Every element of this composition was informed by some aspect of the mythical serpent ouroboros.
At the broadest level, Ouroboros follows a single, processed-based form. This gesture consists of several subsections that are simultaneously transformed by various processes: registral and dynamic wedges, a timbral rondo, and an exponential accelerando. The algorithms used to develop the material also progressed in a cyclical fashion, terminating in the same way that they began.
The harmonic progression, which functions as one giant sequence, is derived from the hexachord 6- 25[013568] and transformations that share at least four common tones. These harmonic materials were arranged across pitch-space in the framework of an ouroboros beginning with a hexachord spanning seven octaves, reducing to a single note, and smoothly spreading back to the fully expanded hexachord.
In order to produce many different sonorities, both new and familiar, I developed multi-layered orchestrations that cycle at different rates and are slightly transformed with each reiteration. While inner layers were orchestrated with systematic processes to transform between primary and secondary orchestral choirs, the surface orchestration shifted slowly between “dark” and “light” timbres. In addition, individual pitches were orchestrated by two dissimilar instruments that articulated to and from niente. To further unify these disparate timbres, the majority of the work was written at dynamic levels less than mezzo piano; this also helped facilitate the execution of the unusually long sustained tones which constitute this work.
By fully integrating the single idea of a mythical serpent and applying it abstractly or mathematically into almost every aspect of composition, I have guaranteed my composition is fully unified both conceptually and musically.
","abstract_html":"<p>Ouroboros— a single-movement, fourteen-minute work scored for flute, alto flute, B-flat clarinet (doubling bass clarinet), bassoon, horn, B-flat trumpet (doubling B-flat flugelhorn), bass trombone, three percussionists, harp, piano, violin, viola, violoncello, and contrabass— is a work that lacks melodies, motives, clear harmonic shifts, perceivable changes in dynamics and timbre, audible articulations, and a discernible pulse. Every element of this composition was informed by some aspect of the mythical serpent ouroboros. </p><p>At the broadest level, Ouroboros follows a single, processed-based form. This gesture consists of several subsections that are simultaneously transformed by various processes: registral and dynamic wedges, a timbral rondo, and an exponential accelerando. The algorithms used to develop the material also progressed in a cyclical fashion, terminating in the same way that they began. </p><p>The harmonic progression, which functions as one giant sequence, is derived from the hexachord 6- 25[013568] and transformations that share at least four common tones. These harmonic materials were arranged across pitch-space in the framework of an ouroboros beginning with a hexachord spanning seven octaves, reducing to a single note, and smoothly spreading back to the fully expanded hexachord. </p><p>In order to produce many different sonorities, both new and familiar, I developed multi-layered orchestrations that cycle at different rates and are slightly transformed with each reiteration. While inner layers were orchestrated with systematic processes to transform between primary and secondary orchestral choirs, the surface orchestration shifted slowly between “dark” and “light” timbres. In addition, individual pitches were orchestrated by two dissimilar instruments that articulated to and from niente. To further unify these disparate timbres, the majority of the work was written at dynamic levels less than mezzo piano; this also helped facilitate the execution of the unusually long sustained tones which constitute this work. </p><p>By fully integrating the single idea of a mythical serpent and applying it abstractly or mathematically into almost every aspect of composition, I have guaranteed my composition is fully unified both conceptually and musically.</p>","abstract_has_math":false,"creators":["Hatty, Matthew James, II"],"institution":"Bowling Green State University","degree_name":"Master of Music (MM)","degree_level":"masters","degree_discipline":"Music Composition","degree_department":null,"school":null,"contributors":["Kuehn, Mikel"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-04-05","date_published":"2013-04-05","updated_at":"2026-07-24T03:35:52Z","subjects":["Music","Hexachord 6-25","Orchestration","Layers","Colors","Filters","Waves","Wind Chimes","Nature","Random","Process Music","Mathematics","Large Chamber Ensemble","Ligeti","Webern","John Luther Adams"],"languages":["English"],"rights":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. It may not be copied or redistributed beyond the terms of applicable copyright laws."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1357344483","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Kuehn, Mikel"]},{"key":"dc:creator","label":"Author","values":["Hatty, Matthew James, II"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2013-04-05"]},{"key":"dc:publisher","label":"Institution","values":["Bowling Green State University / OhioLINK"]},{"key":"dc:type","label":"Dc Type","values":["Electronic Thesis or Dissertation"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music Composition"]},{"key":"thesis:degree_level","label":"Degree Level","values":["masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Music (MM)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Bowling Green State University"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music","Hexachord 6-25","Orchestration","Layers","Colors","Filters","Waves","Wind Chimes","Nature","Random","Process Music","Mathematics","Large Chamber Ensemble","Ligeti","Webern","John Luther Adams"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]},{"key":"dc:rights","label":"Dc Rights","values":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. It may not be copied or redistributed beyond the terms of applicable copyright laws."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1357344483"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ouroboros— a single-movement, fourteen-minute work scored for flute, alto flute, B-flat clarinet (doubling bass clarinet), bassoon, horn, B-flat trumpet (doubling B-flat flugelhorn), bass trombone, three percussionists, harp, piano, violin, viola, violoncello, and contrabass— is a work that lacks melodies, motives, clear harmonic shifts, perceivable changes in dynamics and timbre, audible articulations, and a discernible pulse. Every element of this composition was informed by some aspect of the mythical serpent ouroboros.
At the broadest level, Ouroboros follows a single, processed-based form. This gesture consists of several subsections that are simultaneously transformed by various processes: registral and dynamic wedges, a timbral rondo, and an exponential accelerando. The algorithms used to develop the material also progressed in a cyclical fashion, terminating in the same way that they began.
The harmonic progression, which functions as one giant sequence, is derived from the hexachord 6- 25[013568] and transformations that share at least four common tones. These harmonic materials were arranged across pitch-space in the framework of an ouroboros beginning with a hexachord spanning seven octaves, reducing to a single note, and smoothly spreading back to the fully expanded hexachord.
In order to produce many different sonorities, both new and familiar, I developed multi-layered orchestrations that cycle at different rates and are slightly transformed with each reiteration. While inner layers were orchestrated with systematic processes to transform between primary and secondary orchestral choirs, the surface orchestration shifted slowly between “dark” and “light” timbres. In addition, individual pitches were orchestrated by two dissimilar instruments that articulated to and from niente. To further unify these disparate timbres, the majority of the work was written at dynamic levels less than mezzo piano; this also helped facilitate the execution of the unusually long sustained tones which constitute this work.
By fully integrating the single idea of a mythical serpent and applying it abstractly or mathematically into almost every aspect of composition, I have guaranteed my composition is fully unified both conceptually and musically.
"]},{"key":"dc:format","label":"Dc Format","values":["application/pdf","p.54","1.93 MB"]},{"key":"dc:title","label":"Title","values":["Ouroboros"]}]}],"canonical_facts":{"dc:contributor":["Kuehn, Mikel"],"dc:creator":["Hatty, Matthew James, II"],"dc:date":["2013-04-05"],"dc:description":["Ouroboros— a single-movement, fourteen-minute work scored for flute, alto flute, B-flat clarinet (doubling bass clarinet), bassoon, horn, B-flat trumpet (doubling B-flat flugelhorn), bass trombone, three percussionists, harp, piano, violin, viola, violoncello, and contrabass— is a work that lacks melodies, motives, clear harmonic shifts, perceivable changes in dynamics and timbre, audible articulations, and a discernible pulse. Every element of this composition was informed by some aspect of the mythical serpent ouroboros.
At the broadest level, Ouroboros follows a single, processed-based form. This gesture consists of several subsections that are simultaneously transformed by various processes: registral and dynamic wedges, a timbral rondo, and an exponential accelerando. The algorithms used to develop the material also progressed in a cyclical fashion, terminating in the same way that they began.
The harmonic progression, which functions as one giant sequence, is derived from the hexachord 6- 25[013568] and transformations that share at least four common tones. These harmonic materials were arranged across pitch-space in the framework of an ouroboros beginning with a hexachord spanning seven octaves, reducing to a single note, and smoothly spreading back to the fully expanded hexachord.
In order to produce many different sonorities, both new and familiar, I developed multi-layered orchestrations that cycle at different rates and are slightly transformed with each reiteration. While inner layers were orchestrated with systematic processes to transform between primary and secondary orchestral choirs, the surface orchestration shifted slowly between “dark” and “light” timbres. In addition, individual pitches were orchestrated by two dissimilar instruments that articulated to and from niente. To further unify these disparate timbres, the majority of the work was written at dynamic levels less than mezzo piano; this also helped facilitate the execution of the unusually long sustained tones which constitute this work.
By fully integrating the single idea of a mythical serpent and applying it abstractly or mathematically into almost every aspect of composition, I have guaranteed my composition is fully unified both conceptually and musically.
"],"dc:format":["application/pdf","p.54","1.93 MB"],"dc:identifier":["http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1357344483"],"dc:language":["English"],"dc:publisher":["Bowling Green State University / OhioLINK"],"dc:rights":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. It may not be copied or redistributed beyond the terms of applicable copyright laws."],"dc:subject":["Music","Hexachord 6-25","Orchestration","Layers","Colors","Filters","Waves","Wind Chimes","Nature","Random","Process Music","Mathematics","Large Chamber Ensemble","Ligeti","Webern","John Luther Adams"],"dc:title":["Ouroboros"],"dc:type":["Electronic Thesis or Dissertation"],"thesis:degree_discipline":["Music Composition"],"thesis:degree_level":["masters"],"thesis:degree_name":["Master of Music (MM)"],"thesis:institution_name":["Bowling Green State University"]},"updated_at":"2026-07-24T03:35:52Z"}