First Vision

John D. Moeller

Listening Guide
 2017 John D. Moeller
About First Vision

First Vision is a sonic depiction of the theophany of

Joseph Smith, Jr. (18051844). The work consists of
twenty-six sections that are divided into three move-
ments. Each section (after the introduction) follows
the content and chronological order of Josephs own
account. The movements are divided as follows: Move-
ment I has ten sections and ends with Joseph asking
himself religious questions, Movement II also has ten
sections and ends with the near destruction of Joseph,
and Movement III has six sections and includes the
actual theophany.

First Vision was funded by an Arts Research Enhance-

ment Grant from the Academy for the Visual and
Performing Arts at Texas A&M University.
Movement I

Section 1 (0:00)
Bowed cello

(Introduction)

A harmony is heard across the field, created from

granulated, bowed string tones. It fades in over a
period of forty seconds. The harmony results from the
combined sonority that is created as each loudspeak-
er emits a unique succession of tones. The pitches of
the tones are selected uniformly from the ratios of the
first thirty-two partials of the harmonic series of three
fundamental pitches: F2, F3, and F4 (when C4 is middle
C). The sounds fade out over a period of thirty seconds
before the end of the next section.

Section 2 (2:30)
Xylophone, marimba, and pitched wood block (hits and soft
mallet rolls)

Some time in the second year after our removal to Man-

chester, there was in the place where we lived an unusual
excitement on the subject of religion. It commenced with
the Methodists, ...
Thirty-two sound streams begin simultaneously, cov-
ering the thirty-two speakers in the A area of the field.
They fade in over a period of forty seconds. The sound
events in each stream are comprised of pitched wood
percussion sounds. The onset rate of the sound events
increases roughly from one to ten sound events per
second in each line. The just-intonation pitch ratio of
the sound events in each line increases in complexity
over time, and follows the formula of (y+x)/x, wherein
x increases from the integer 1 to 32 in an exponential
shape over the duration of the section; and y is sto-
chastically selected, per sound event, from the integers
0 to x-1. The fundamental pitch class is B (B2 to B8).
This section continues until the end of Movement I.

A
Section 3 (4:00)

Tuned timbal (i.e., one drum from a pair of timbales), tim-

pano (i.e., a single kettle drum), and tuned bongo (hits and
soft mallet rolls)

Vibraphone (hits, soft mallet rolls, and bowed)

... but soon became general among all the sects in that
region of country. Indeed, the whole district of country
seemed affected by it, and great multitudes united them-
selves to the different religious parties, which created no
small stir and division amongst the people, some crying,
Lo, here! and others, Lo, there! Some were contending
for the Methodist faith, some for the Presbyterian, and
some for the Baptist.

The B and C areas of the field are treated similarly to

the A area of the field. The B and C systems start at
the same time. They both fade in over forty-five
seconds. Pitched membrane percussion sounds are
used for the B area, and pitched metal percussion
sounds for the C area. The fundamental pitch class of
the B and C areas is likewise B, however, the C area
includes B3 to B8, whereas the B area includes B2 to B8.
Both of these sound types continue until the end of
Mvt. I.
 B

Section 4 (6:00)
Bowed tam-tam and bass drum

For, notwithstanding the great love which the converts to

these different faiths expressed at the time of their con-
version, and the great zeal manifested by the respective
clergy, who were active in getting up and promoting this
extraordinary scene of religious feeling, in order to have ev-
erybody converted, as they were pleased to call it, let them
join what sect they pleased; yet when the converts began to
file off, some to one party and some to another, it was seen
that the seemingly good feelings of both the priests and
the converts were more pretended than real; for a scene of
great confusion and bad feeling ensuedpriest contending
against priest, and convert against convert; so that all their
good feelings one for another, if they ever had any, were
entirely lost in a strife of words and a contest about opin-
ions.
Bowed tam-tam sounds start in each of the ninety-six
loudspeakers. The onsets of each sound are uniform-
ly distributed in time. The pitch band of each bowed
tam-tam sound is selected by multiplying its frequen-
cy by a stochastically chosen ratio from the first six-
ty-four partials of the harmonic series transposed to
within a single octave, with repeated partials omitted
(i.e., the ratios from 32/32 to 63/32); and then by
further shifting the pitch band of each sound an octave
lower, an octave higher, or by remaining in the origi-
nal octave (according to uniform probability). These
sounds stop at the end of this section.

Bass drum sounds also commence in all of the loud-

speakers. The temporal position of the onset of each
drum sound is stochastically determined, and the
onset rate increases over time according to an expo-
nential distribution. The pitch of each drum sound is
selected uniformly from the first sixty-four partials of
the harmonic series transposed to within a single
octave, with duplicate partials omitted. These sounds
also cease at the end of this section.

Section 5 (9:00)
Bass flute, alto flute, concert flute, quena, and recorder

I was at this time in my fifteenth year. My fathers family

was proselyted to the Presbyterian faith, and four of them
joined that church, namely, my mother, Lucy; my brothers
Hyrum and Samuel Harrison; and my sister Sophronia.
Nine sustained sound streams appear in a sequence
around the perimeter of the field to represent members
of the Smith family. Four of the streams are situated
in the B area. The remaining five sounds stay on the
perimeter in the A and C areas. The sound streams
commence at a rate of approximately one every twenty
seconds. Each sound stream is decorrelated and placed
in a cluster of four contiguous speakers. All of these
sound streams continue until the end of Mvt. I.

The sound streams themselves are sustained chords

comprised of seven pitches each. The sounds originate
from oscillating air in wood or metal pipe. The funda-
mental pitch of each sound is selected from the pitches
B2, B3, B4, and B5 depending on the age and gender of
the person the sound represents (older age and male
has a lower pitch, younger age and female has a higher
pitch). The pitches of the six upper tones in each sound
are related to the fundamental tone through the fol-
lowing ratios: (x+1)/x, (x+2)/x, (x+3)/x ... (x+6)/x;
wherein the fundamental is (x+0)/x. In this case, x is
selected, each sound event, through a random-walk
process that can select up or down a single integer.
The process has a lower limit of 2 and an upper limit
of 6.
Section 6 (12:00)
Bass flute, alto flute, concert flute, quena, and recorder

During this time of great excitement my mind was called up

to serious reflection and great uneasiness; but though my
feelings were deep and often poignant, still I kept myself
aloof from all these parties, though I attended their several
meetings as often as occasion would permit. In process of
time my mind became somewhat partial to the Methodist
sect, and I felt some desire to be united with them; ...

The sound representing Joseph appears partially in

the A area, but not fully in it. The fundamental pitch
of the sound is B2. The sound is generated as described
in the previous section; however, the chords are com-
prised of twelve tones instead of seven, and use the
following ratios for the tones above the fundamental:
(x+1)/x, (x+2)/x, (x+3)/x ... (x+11)/x; wherein the
fundamental is (x+0)/x. Additionally, the lower and
upper bounds of the random-walk process likewise
begin at 2 and 6; however, they progress upwards
over time according to the shape of an exponential
curve, and reach 12 and 16 by the end of Mvt. I. This
section continues until the end of Mvt. I.
 4 1

B
3 2

6 A

JJr
7

C
5 9

Section 7 (14:00)
Bowed tam-tam and bass drum

... but so great were the confusion and strife among the
different denominations, that it was impossible for a person
young as I was, and so unacquainted with men and things,
to come to any certain conclusion who was right and who
was wrong.

My mind at times was greatly excited, the cry and tumult

were so great and incessant. ...

The bowed tam-tam sounds return, covering the entire

field. The bass drum sounds also emerge again. Both
of these sound types conclude at the end of this
section.
Section 8 (16:30)
Water gong

... The Presbyterians were most decided against the Baptists

and Methodists, and used all the powers of both reason
and sophistry to prove their errors, or, at least, to make the
people think they were in error. ...

The sound of a struck gong that is progressively im-

mersed into a pool of water commences. The sounds
are heard both forwards and backwards, and appear
approximately ten times per second throughout the
speakers in the B section of the field. The distribution
of the sounds are scattered uniformly in time and
space. The base frequency of each sound is non-de-
terministically selected from among three octaves: B2,
B3, or B4. The base frequency of each sound is then
multiplied by a ratio stochastically selected from among
the first sixty-four partials of the harmonic series
transposed to within a single octave, with repeat par-
tials omitted. This section continues until the end of
Mvt. I.

Section 9 (18:00)
Cymbal roll on timpano and metal scrape across cymbal

... On the other hand, the Baptists and Methodists in their

turn were equally zealous in endeavoring to establish their
own tenets and disprove all others.
In the same manner as the previous section, the sound
of a cymbal roll on a timpano begins in the speakers
in the C section of the field. At the same time, the
sound of a metal scrape on a cymbal commences in
the speakers in the A section. Both of these sound
types continue until the end of Mvt. I.

Section 10 (20:00)
Bowed tam-tam and bass drum

In the midst of this war of words and tumult of opinions, I

often said to myself: What is to be done? Who of all these
parties are right; or, are they all wrong together? If any one
of them be right, which is it, and how shall I know it?

The bowed tam-tam and bass drum sounds return.

They continue until the end of this section. All sounds
begin to fade out at the end of this section.
Movement II

Section 11 (23:00)
Whispered text

While I was laboring under the extreme difficulties caused

by the contests of these parties of religionists, I was one
day reading the Epistle of James, first chapter and fifth
verse, which reads: If any of you lack wisdom, let him ask
of God, that giveth to all men liberally, and upbraideth not;
and it shall be given him.

Streams of non-pitched sounds commence in each of

the ninety-six loudspeakers (they fade in over a period
of forty seconds). Each sound stream is unique, and
is created from whispered speech that has been gran-
ulated (using a single voice of grains per sound stream).
The text comes from James 1:5 (KJV). Each sound
stream is amplitude modulated with a time-varying
low-frequency oscillator. In each sound stream, the
read-through rate through the whispered sample is
slowed to 1%-3% of the normal speed. The read-through
direction of the sample alternates stochastically from
forwards to backwards. There is also a non-determin-
istic offset in the read-through point within the sound
file for each grain (i.e., up to two seconds). The dura-
tion of each grain is uniformly selected every four
seconds from a range of 0.5ms to 30ms, with inter-
polation between each selected value. There is a
random offset in the duration of each grain (i.e., up
to 75% of the duration of the grain). The base pitch
band of each channel is stochastically determined
from within a range of 200 cents. This section contin-
ues until stated otherwise.

Section 12 (25:30)
Synthesized noise

Never did any passage of scripture come with more power

to the heart of man than this did at this time to mine. It
seemed to enter with great force into every feeling of my
heart. ...

A unique harmony is heard in each loudspeaker, which

fades in over a period of forty seconds. Each sound
results from pink noise that is passed through a bank
of seven tuned band-pass filters. The sounds are se-
quential in each loudspeaker (with a 1-2 second
overlap), and each sound event lasts from forty to fifty
seconds in duration. The relationship of the seven
tuned band-pass filters is y*((x+0)/x), y*((x+1)/x),
y*((x+2)/x) ... y*((x+6)/x). x and y are non-determin-
istically selected per sound event. x is selected from
a range of integers that changes over time. Specifical-
ly, the range starts at 4-7 and shifts to 1-3 at an ex-
ponential rate over the entire duration of this section.
y is selected from the pitch classes F3, F4, or F5. The
bandwidth of each band-pass filter is 0.1% of the center
frequency of each filter. The amplitude of each channel
is modulated using a variable low-frequency oscillator.
This section continues until specified otherwise.
Section 13 (27:00)
Whispered text

... I reflected on it again and again, knowing that if any

person needed wisdom from God, I did; for how to act I did
not know, and unless I could get more wisdom than I then
had, I would never know; for the teachers of religion of the
different sects understood the same passages of scripture
so differently as to destroy all confidence in settling the
question by an appeal to the Bible.

Another type of granulated whispering is introduced

in each of the ninety-six loudspeakers. Specifically,
the sound of four streams of grains in each loudspeak-
er is heard. Each constituent stream is comprised of
a single, unique voice of grains. The pitch bands of
the four streams in each channel are related to each
other according to the following ratios: (x+0)/x, (x+1)/x,
(x+2)/x, and (x+3)/x. Wherein, x is selected stochas-
tically from the integers 1 to 4. The base pitch band
of each channel is also non-deterministically selected
from within a range of 200 cents. The read-through
rate through the whisper sample is 17-20% of the
original rate, and the read-through direction is always
forwards. The grain duration is 138ms, but is varied
uniformly up to 50% of the duration. Additionally, the
original signal in each channel is combined with a
delayed copy of the signal. The delay line length is
modulated over time (from 0ms to 20ms) using a
time-varying low-frequency oscillator. The result is a
variable comb filter that alters the spectrum of each
channels signal. This section continues until indicat-
ed otherwise.
Section 14 (29:00)
Whispered text

At length I came to the conclusion that I must either remain

in darkness and confusion, or else I must do as James di-
rects, that is, ask of God. I at length came to the determina-
tion to ask of God, concluding that if he gave wisdom to
them that lacked wisdom, and would give liberally, and not
upbraid, I might venture.

Snippets from 0.7 to 1.0 seconds in length of whis-

pering appear in each loudspeaker. A Doppler shift
and rapid rise and fall in amplitude are applied to each
snippet. The base pitch of each selection varies within
-200 to +1100 cents from the original pitch. The
temporal position of each of the sounds in each channel
is according to a uniform distribution. At the end of
this section, all the sections that are related to whis-
pering come to a close.

Section 15 (32:00)
Bass flute, alto flute, concert flute, quena, and recorder

So, in accordance with this, my determination to ask of

God, I retired to the woods to make the attempt. It was on
the morning of a beautiful, clear day, early in the spring of
eighteen hundred and twenty. It was the first time in my life
that I had made such an attempt, for amidst all my anxiet-
ies I had never as yet made the attempt to pray vocally.

After I had retired to the place where I had previously de-

signed to go, having looked around me, and finding myself
alone, ...
Josephs sound begins once again. It fades in over a
period of forty-five seconds. It emerges in twenty-four
speakers in the center of the field. The sounds were
generated as described previously, using the same
fundamental pitch (i.e., B2). However, the lower and
upper bounds of the random-walk process, described
in Mvt. I, begin at 2 and 6 and increase over time
according to the shape of an exponential curve until
they reach 28 and 32 by the end of Mvt. II.

JJr

Section 16 (35:00)
Glockenspiel

... I kneeled down and began to offer up the desires of my

heart to God. ...
Pitched percussive metal sounds emerge across the
entire field. The rate of their appearance increases
over time according to an exponential distribution.
The pitches of the sounds were selected stochastical-
ly from the ratios of the first sixteen partials of the
harmonic series of three fundamental pitches: B2, B3,
and B4. These sounds cease at the end of this section.

Section 17 (37:00)

Downward arco cello glissando, cymbal roll on a timpano

as it is pitched downwards, bass flute multi-phonics, water
gong, metal scrape across a cymbal, cello sul ponticello,
and cello tremolo

Guiro, castanets, claves, rim shot, cross-stick rim shot, tri-

angle, and antique cymbals

... I had scarcely done so, when immediately I was seized

upon by some power which entirely overcame me, and
had such an astonishing influence over me as to bind my
tongue so that I could not speak. ...

A sequence through seven sound types begins in each

of the ninety-six loudspeakers. The sound types
include: downward arco cello glissando, cymbal roll
on a timpano as it is pitched downwards (played for-
wards and backwards), bass flute multi-phonics, water
gong (played forwards and backwards), metal scrape
across a cymbal (played forwards and backwards),
cello sul ponticello, and cello tremolo. Sounds in each
channel commence at a rate of five sounds per second.
Each sound type varies significantly in its perceived
focus and steadiness of pitch; however, the funda-
mental of each sound type was initially tuned, inasmuch
as possible, to the pitch class B. The just-intonation
pitch ratio of the sound events in each channel in-
creases in complexity over time, and follows the
formula of (y+x)/x, wherein x increases from the integer
32 to 64 in an exponential shape over the duration of
the section; and y is stochastically selected, per sound
event, from the integers 0 to x-1. The pitch of each
sound was further shifted indeterminately one octave
lower, two octaves lower, or allowed to remain in the
original octave. These sounds continue until the end
of Mvt. II.

Additional sounds also begin in each channel. The

sounds are drawn stochastically from seven types of
reversed sounds: guiro, castanets, claves, rim shot,
cross-stick rim shot, triangle, and antique cymbals.
The sounds are treated much in the same way as those
described above, with some variations. The sounds
were similarly tuned as closely as possible to the base
pitch class of B. As above, the focus and steadiness
of the perception of pitch of each of these sound types
varies significantly. The just-intonation pitch ratio
increases in complexity as described above. The pitch
of each sound was shifted indeterminately one octave
lower, one octave higher, or allowed to remain in the
original octave. Sound events in each channel appear
at a rate of one sound per four seconds and increases
according to an exponential shape to five sounds per
second. However, there is jitter applied to this rate of
up to 60%. These sounds continue until the end of
Mvt. II.

Filtered pink noise is also heard in each of the loud-

speakers. A band-pass filter with a center frequency
of B2 (123.47 Hz) and a bandwidth of 30.87 Hz is used
on each channel. The noise in all of the channels is
decorrelated.

Section 18 (40:00)

Bass flute flutter tongue (straight pitch), bass flute flutter

tongue (variable and indeterminate pitch), bowed marimba,
bowed tam-tam, and cello bowed over-pressure

... Thick darkness gathered around me, and it seemed to

me for a time as if I were doomed to sudden destruction.

A series of sounds are heard in all the ninety-six loud-

speakers that get progressively lower in pitch. The
sounds in each channel are selected uniformly from
various sound types, including bass flute flutter tongue
(straight pitch), bass flute flutter tongue (variable and
indeterminate pitch), bowed marimba, bowed tam-tam,
and cello bowed over-pressure. The pitch level in each
channel drops at each new sound. The numerator of
the pitch ratio drops from 32/16 to 16/16 in a series
of sixteen steps. This pattern repeats until the end of
Mvt. II (i.e., approximately three times, albeit varied
each time). The sounds are all tuned as nearly as
possible to the pitch class B (however, the perception
of pitch of the sound types varies in focus). Addition-
al parameters of each sound are stochastically select-
ed: the amplitude of each sound is scaled from 0.6 to
1.0, the duration ranges from 7.0 to 10.0 seconds,
and the overlap duration between sound events in
each channel varies from 1.0 to 2.0 seconds. These
sounds continue until the end of Mvt. II.
Section 19 (42:00)
Glockenspiel

But, exerting all my powers to call upon God to deliver me

out of the power of this enemy which had seized upon me,
...

The pitched percussive metal sounds commence again

as described previously, however, the average density
of sounds per second is increased. These sounds
continue through the end of Mvt. II.

Section 20 (43:30)
Bass drum

... and at the very moment when I was ready to sink into
despair and abandon myself to destructionnot to an
imaginary ruin, but to the power of some actual being from
the unseen world, who had such marvelous power as I had
never before felt in any beingjust at this moment of great
alarm, ...

The bass drum reappears in the same manner as

described in previous sections of the piece. However,
the total number of bass drum sounds in this section
is higher than what it was in the previous sections.
This section continues until the end of Mvt. II.
Movement III

Section 21 (46:00)

Bowed cello

(Bass flute, alto flute, concert flute, quena, and recorder

continue)

... I saw a pillar of light exactly over my head, above the

brightness of the sun, which descended gradually until it
fell upon me.

It no sooner appeared than I found myself delivered from

the enemy which held me bound. ...

The harmony heard at the beginning of the piece

returns. It fades in over a period of forty-five seconds.
It continues until the last section of the piece.

The sound representing Joseph continues on from

Mvt. II. It continues until the end of the composition.
During this particular section, Josephs sound retains
the level of dissonance it had reached by the end of
Mvt. II. However, during this section, the fundamental
pitch of the sound raises from B2 to F3.
Section 22 (48:00)
Tremolo cello

... When the light rested upon me I saw two Personages,

whose brightness and glory defy all description, standing
above me in the air. ...

Polyrhythmic sounds created from tremolo string tones

are heard in each loudspeaker. The fundamental pitch
of each polyrhythmic sound is uniformly selected from
the pitches F2, F3, F4, and F5. The pitches and speeds
of the upper tones in each polyrhythmic sound are
related to the fundamental tone through the following
ratios: (x+1)/x, (x+2)/x, (x+3)/x ... (x+6)/x; wherein
the fundamental is (x+0)/x. In this case, x is selected
stochastically per sound event from among the integers
3 through 6. These sounds continue until the last
section of the piece.

The sound representing Joseph decreases in disso-

nance rapidly during this section (i.e., the lower and
upper limits of the random-walk process, as described
in Mvt. I, move linearly from 28 and 32 to 2 and 4).

Section 23 (51:00)
Crotales

... One of them spake unto me, calling me by name and

said, pointing to the otherThis is My Beloved Son. Hear
Him!

A new type of pitched metal percussion sound emerges

across the entire field. The pitches of the sounds
are selected non-deterministically from the ratios of
the first sixteen partials of the harmonic series of three
fundamental pitches: F2, F3, and F4. The temporal
occurrence of each sound is non-deterministic, however
the change in density of the sounds (i.e., the total
number of sounds per second) is determined by
mapping the shape of the amplitude envelope of a
recording of the accompanying text. The highest point
of the shape indicates 160 sounds per second and the
lowest point signifies 1 sound per second. These
sounds cease at the end of this section.

Josephs sound continues until the end of the piece.

It continues to decrease in dissonance until the end
of the piece (i.e., the upper and lower limits move
linearly from 6 and 4, to 1 and 1).

Section 24 (54:00)
Glockenspiel

My object in going to inquire of the Lord was to know which

of all the sects was right, that I might know which to join.
No sooner, therefore, did I get possession of myself, so as
to be able to speak, than I asked the Personages who stood
above me in the light, which of all the sects was right (for
at this time it had never entered into my heart that all were
wrong)and which I should join.

The pitched metal percussion sounds from Mvt. II

appear across the field once again. The density of the
sounds is determined as described in the immediate-
ly preceding section, albeit using the text that accom-
panies this section. The base pitches of these sounds
are drawn uniformly from F3, F4, and F5. These sounds
stop at the end of this section.

Section 25 (56:00)
Crotales

I was answered that I must join none of them, for they were
all wrong; and the Personage who addressed me said that
all their creeds were an abomination in his sight; that those
professors were all corrupt; that: they draw near to me
with their lips, but their hearts are far from me, they teach
for doctrines the commandments of men, having a form of
godliness, but they deny the power thereof.

He again forbade me to join with any of them; and many

other things did he say unto me, which I cannot write at
this time. ...

The new type of pitched metal percussion sounds

return. The density of the sounds is determined in a
similar fashion as the previous two sections, but using
the text that accompanies this section. The base
pitches of the sounds are selected non-deterministi-
cally from F3, F4, and F5. These sounds stop at the end
of this section.

Section 26 (57:30)

... When I came to myself again, I found myself lying on my

back, looking up into heaven. When the light had departed,
I had no strength; but soon recovering in some degree, I
went home.

The polyrhythmic sounds, which began in the second

section of Mvt. III, fade out over a period of twen-
ty seconds at the beginning of this section. However,
the sounds that began in the first section of Mvt. III
continue for twenty seconds into this section, then
fade out for a period of forty seconds.

The field becomes silent except for Josephs sound,

which sustains for an additional thirty seconds, and
then fades out over a period of sixty seconds.
About John D. Moeller

John D. Moeller earned his Ph.D. in Music Composition

from Queens University Belfast (Sonic Arts Research
Centre); M.M. in Music Technology from New York
University; Certificate in Composition and Computer
Music from the Centre de Cration Musicale Iannis
Xenakis (CCMIX) in Paris (Alfortville), France; and B.M.
in Music Composition (University Honors) from Brigham
Young University.

John is an award-winning composer. His works have

been performed in France, the Republic of Ireland, the
United States, and the United Kingdomincluding the
International Computer Music Conference 2008, and
the Sonorities Festival of Contemporary Music 2010.