The piece opens with bluegrass music pitted against opposing chromatic "abstract" material. Gradually, these two styles exchange attributes---the rock-solid rhythm of the bluegrass fractures, while the abstract material adopts country music harmony. The two eventually find a kind of resolution, fusing together into a single cohesive texture during the extended finale, then flying apart into opposite corners of the cosmos.
The title is a pun referring to classic bluegrass titles like "Shenandoah Valley Breakdown," as well as to the explosion of rhythmic complexity that characterizes the work. A FOONLY F-4 Computer controls musical timing in ways that would be nearly impossible with human instrumentalists. Custom simulation programs extend traditional contrapuntal imitation to produce "elastic canons", in which parts begin together, diverge in tempo and eventually find their way back into perfect synchronization.
The sound was synthesized by the giant Systems Concept Digital Synthesizer at the Center for Computer Research in Music and Acoustics, Stanford University. This device models the physics of a plucked string, using a technique invented by Alex Strong, Kevin Karplus, David Jaffe and Julius Smith, and combines a variety of filtering and modulation methods to blur the dividing line between string resonance and reverberation, between instrument and space.
Since its premier at the 1983 Biennale in Venice, "Silicon Valley Breakdown" has been presented in over twenty countries on five continents. Jacques Lonchampt of Le Monde hailed it as a landmark of computer music.
Available on the CD XXIst century mandolin, acoustic and computer music by David A. Jaffe Well-Tempered Productions, distributed in the US and Canada by Allegro.