Jordan Dykstra インタビュー  Interview with Jordan Dykstra

本日はカリフォルニア芸術大学で作曲を学んだJordan Dykstra。ドローンミュージックが好きなことから始まった微分音の探求について語ります。
I'm doing intervviews with microtonalists using FAQ like templates via Emails. Today's interview is with Jordan Dykstra.


・What has brought you to making microtonal music?

Looking back in my history, I think one of my earliest instances of microtonality was found in my love of drone music. I am a violist and I started making my own drone music with long delay effects and blending in of my own layers. Immediately the microtones began to shimmer, sometimes with dark hues and sometimes brighter. I fell in love with this sound. As I began studying further into my favorite composers and pieces I realized there was a common thread of microtonality amongst a majority of their works.



How old were you when you started making your music?

Sometime around 22 years old



・Tell us about your microtonal instruments, devices, whatever you use.

I am an avid violist and percussionist. I love the possibilities of creating tone from percussion noise-makers and exploring the middle ground. I love composing with sustaining instruments such as strings, piano with ebow, organ, and just about anything that can be bowed.



・Is there any important point when you compose microtonal music?

An important aspect of my music when dealing with microtones is to let them exist without a struggle to be heard. Usually this means giving them room to open up and then settle into the ear.



・What's microtonal to you?

To me microtonal means that anything that uses microtones, or intervals less than a semitone (less than 100 cents).



・Tell us about your favorite microtonal music.

Some of my favorite microtonal composers include Alvin Lucier, James Tenney, Geard Grisey, Chiyoko Szlavnics, Wolfgang von Schweinitz, La Monte Young, Tony Conrad, Peter Ablinger, Klaus Lang, Polwechsel.


いくつか好きな作曲家を挙げるなら、 Alvin Lucier, James Tenney, Geard Grisey, Chiyoko Szlavnics, Wolfgang von Schweinitz, La Monte Young, Tony Conrad, Peter Ablinger, Klaus Lang, そして Polwechselですね。

・Do you have some favorite non-microtonal music?

I really enjoy hip-hop, negro spiritual, electronic, ultra-minimal, and a ton others - but to be honest, it’s really hard for me to call any music “non-microtonal”.

I also really enjoy gagaku, especially the pacing and the sounds of the shō. In fact, it inspired me for my 30 minute drone piece called Elegant Music - http://jordandykstra.bandcamp.com/album/elegant-music


雅楽も楽しんでいます。特に笙の間の取り方や音ですね。それに実際にインスパイを受けてElegant Musicという30分のドローンも作曲しました。 http://jordandykstra.bandcamp.com/album/elegant-music

・What's your favorite scales and tunings? (The answer doesn't have to be microtonal one. )

Lately I have been using some ambiguous scales. In my recent piece “Seven Found Clouds” I let the performer choose from 25 different non-octave interval patterns. It gives the piece a misty unstable element that floats and hides the element of grounding in a tonality sense. I also enjoy using an octave scale that has 1200 notes, using every whole number cent available. Even though I believe Just Intonation (JI) is really the most contemporary tuning in the lineage of historical analysis of tuning systems, I do have a keen interest in different mean-tone temperaments as well. Spectral analyzation to influence tuning is another interesting aspect of mine that keeps coming up in my compositions.


最近では曖昧な、多義的なスケールを使っています。最近の作品 “Seven Found Clouds”においては、演奏者に25の非オクターブの音程のパターンを選ばせるようにしました。そうすることで、調性の基礎になる要素の中で浮かんでは消える神秘的で不安定な要素が作品に与えられるのです。
使用できるあらゆるセントを用いて、1オクターブの中に1200の音程があるスケールを使うことも楽しんでいます。 私は調律の体系の系統の歴史的な分析において、本当は純正律が最も現代的な調律だと確信はしているものの、他のミーントーン(中全音律)にも強い興味を抱いています。調律に影響を及ぼすスペクトラルな分析は、私のもう一つの主要なテーマであり、私の作曲にも表れ続けています。


・Do you have any message to younger generations, and beginners for microtonal music?

I think performing is an integral part of microtonal music. Literally knowing how the microtones feel with their beating discrepancies and alignment is an important aspect to understanding microtonal relationships. A firm grasp on the harmonic series and hertz frequency relationships is of course very important, as well as a stronghold on intervals within the 12-tone western system.



Thanks Jordan!
第一回目、とても貴重なインタビューを頂きました。訳しているだけで、密度の濃い微分音のクラスに通っているのと同じくらい勉強になります。デカメガネがおしゃれなJordan、セーターもイイね。興味を持った方は是非下記リンクより作品を聴いてみてください。“I’m Not a Horse Person, Dog (Accretion)”はドローン好きの方にもオススメです。

Official website with worklis

“The Neutral Mask”

“I’m Not a Horse Person, Dog (Accretion)”


translation and article
H. Wakabayashi