Vincent Van der Bosch is an artist that uses both intuition and information he gathered alongtime to express his musical ideas.

''For me music is the amalgam of the new and the old under a new perspective'' he remarks.

Thus, in his orchestral music based on classical instrumentation along with effects such as reverb, delay he utilizes different methods, styles and approaches to enhance this vision.

One can find elements of contemporary modal, atonal and serial music, to chance procedures, minimalism, post-minimalism, rock, drum n bass beats transformed into piano rhythms and the, what he calls 'Orders'.

Orders are patterns of intervals , or in other words intervals of particular series. Then what Van der Bosch does is using orders to move from one sound property to another by keeping the respective ratios of each order.

For example an interval of fifth followed by a fourth belongs to the order { 7,5 } counting from root note to semitones and then from there to the next interval.

This when 'rationalazed' , using the relationships between the basic sound frequencies , becomes the order [2:3:4]

Now one can take the interval relationships and uses them analogically in dynamics, tempo changes, rhythm lenghts and more. (every musical attribute that has more than one number value).

For example a scale of tempos can be created consisting from 200 bpm, 300, 400 (and the halves, because of the octave universality axiom), 150, 75 e.t.c.


This method has been used partially in the compositions contained within this album.

An other method Van der Bosch uses is the conversion of motion to sound. In 2007 while doing a master in multimedia arts/science in Holland, Van der Bosch co-created a program named motion2sound.

(the program has participated in two international conferences, Dimea 2008, Athens and Intetain 2009 ,Amsterdam )

This program uses properties of motion either from a web camera or from a video and translates them into music by mapping 'motion-instances' to intervals pitch and time value.

This can create interesting rhytmical results that are using an extra-musical material, the language of motion and further dance .

A piece that utilizes motion2sound is the numbered six, '' an eagle on purple inks'' that translates the motion of an eagle flight to musical sound under a chosen mode.

Piece 17, ''transposing symmetries'' uses a mix of chance-aleatoric (with several limitations set by the composer) procedures, to higly predefined sections of music all that ordered rationally as explained above. This makes an interplay between chance and determinism, or in a fact a game of different determination levels..crying out for the unique (totally non-determined) element to break through.

Piece 15. '' Dances Bizarre'' asks for the imagination of what would have happened if there were other folk forms of civilization making their regional dances.
Several elements derived from previous ''Bartokian'' material is used to then put in dark- modes, extended into more uneven rhytms and thus to move to this ''otherness'' this non-familiarity with the expected along with the dancing essence that is recognized through the use of the common elements.

Opus 46, ''drone and a chance scale'' takes as the first material the use of drones (elongated or repeated sounds) , the concept of key ( here is D. The drone)
and above that a kind of minimal exposition.

This could be seen as a histerical overview of minimalism , using several concepts of minimalism through its progress all at once.

Opus 25 , with its two parts a and b , is the effort to move in a ''dark-manner'' with the very consonant intervals of major and minor (following each other).

The time signatures are uneven to produce an extra sense of dissonance.

Here the question is how can consonace sound dissonant or how dissonance can sound consonant simultaneously.

In ''Overtones, Undertones'' (piece 10) , there is a free ''translation'' of the overtone series to intervals and time values. Thus we hear an interval of semitones, followed by two tones , three minor thirds e.t.c.
Until the octave is reached, the ''beginning and end of it all''.

Piece 14, ''the world is one'' wants to show the link and essential entity of several 'different' cultures, Indonesian modes followed by Japanese to reach to Minor Asian (rebettika modes) and finish in a Spanish modal manner. The flow from one culture to another has the aim to be non-intented ,uniting all to one experience : the world is one.

To conclude it can be clearly seen that Van der Bosch is using his perception of the world to be reflected into his music. Several key terms that reappear are:

RATIO, ORDER, GESTALT, ONE, FRAGMENT.

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