Textures and Transitions

Abstract

All rhythms involve patterns of change and the way they transition between (or resolve the tensions between) the changing states has a felt quality. That felt quality will also emerge out of the rhythmic textures of densities, layers and accents within a work. Both textures and transitions contribute to the overall affective tone of a work and this makes them an essential component of the processes of designing for rhythmic experience. In order to create textures, designers will go through processes of addition, subtraction, sequencing, and layering. To create transitions, they will shape the ebb and flow of the dynamics of rhythm and, in particular, shape that moment when two rhythmic energies connect. Within interaction design, these two processes allow designers to create expressive rhythmic possibilities that can then be brought to life by the unfolding of a work and the playful interactions of its users. To begin our discussion of textures and transitions, we have an interview with classical composer Andrew Schultz. For Schultz, transitions are about creating movement between ideas. Shaping this movement is part of the process he goes through to develop and build textures within his compositions. Schultz has composed a broad range of award-winning chamber, orchestral and vocal works, including several large symphonies and operas. In common with interaction designers, he often designs for an audience who will be experiencing something unfamiliar when they first listen to one of his compositions. He shares many of the same concerns we interaction designers might have about engaging an audience and shaping their affective experience.