Dronescape 5 is the fifth in a series of albums, containing new, digitally created, compositions by Oscar van Dillen. The work on this album was composed November-December 2020.

Similar to the other Dronescape releases, this album too can be considered to be an Electronic symphony, the 5th by Oscar van Dillen. This one-part work is called Myrmecology. This release features the composition in three sections for easier playback (and because modern digital streaming media surprisingly still cannot handle such large tracks at the time of this release):

1. Myrmecology (section 1) – duration 35:43
2. Myrmecology (section 2) – duration 30:17
3. Myrmecology (section 3) – duration 54:08

Total duration: 2:00:08

Myrmecology consists a variety of simultaneous rhythms, working as polyrhythms, in six proportional tempi. These rhythms make up a variety of cycles by means of moving, changing, and developing, ostinati. Furthermore, these polyrhythms are enhanced by use of both binary (also quaternary at times) and ternary feel, as well as of microtiming. Microtiming is the rhythmic equivalent of the harmonic concept Microtuning, but the first is related to minute but precisely controlled differences in timing. The inspiration for this treatment of rhythm and polyrhythm can be found in various worldwide music traditions originally stemming from the African continent, many of which are using rhythm and (micro)timing as a means of emotional expression, as opposed to other traditions using (micro)tuning systems and/or harmony for emotional expression. Rhythm in this way becomes a polyphony in its own right, and in Myrmecology this is explored, over its two hours duration.

One can only experience time truly when takes a relative lot of it, so for these processes to be at all clear, a certain duration of the music and a certain patience of the audience are needed, rare commodities though they seem in our over hasted age.

Myrmecology, the title of the work reflects on the resulting acoustic rhythmically polyphonic superorganism. It is therefore also inspired by the works of E.O. Wilson. The composer found, in particular in his books The Ants, and Superorganism, but also especially in his recent works The Origins of Creativity and Genesis, food for thought about who we are as a species, as a human superorganism. The music does not depict crawling ants, but rather explores the very fabric of thought and meaning, connected to the simultaneous existence of a variety of individual interpretations within a greater coherence overall, by means of music. Expressed in rhythm, metre, and timing.

See OIJ Records for more information and links to online streaming platforms.