Role of (periodic as well as aperiodic) tessellations in contemporary composition. The cases of Tesselles sonores and Le Chapeau \`a douze cornes by Marisa Acu\~na

TL;DR

This paper explores how modern tessellations, including aperiodic monotiles like the Hat, influence contemporary musical composition and sound transformation techniques.

Contribution

It introduces the use of geometric tessellations, especially aperiodic monotiles, as a novel approach in musical composition and sound design.

Findings

Aperiodic monotiles inspire new sound transformation methods.

Geometric tessellations are utilized in contemporary musical works.

The paper discusses specific compositions like Le Chapeau à douze cornes.

Abstract

The recent discovery of a family of aperiodic monotiles, which includes David Smith's famous Hat, has shaken the field of plane tessellations. Music composers have already utilised the visual representation of plane tilings in their artwork (Tom Johnson through his use of Vuza's canons, talea and color in isorhythmic motets...). Constructions of the Hat from elementary geometric polygons provide a different perspective, for example through the sound transformation of microtonal intervals, as seen in Marisa Acu\~na's piece Le Chapeau \`a douze cornes.