>Date: Tue, 2 Jul 2002 11:09:23 +0200 >From: [EMAIL PROTECTED] (jef chippewa) > >the same method can be applied in a large range of rhythmical situations, >even helping simplify much of so-called "new complexity" [15:9 = 5-let >divided into 3-lets, or 3 successive and equal duration values in 5-lets, >etc.], while word plays are very limiting and can be quite inexact.
At this moment (why did it take so long?) I am reminded that "New Complexity" was (to a considerable extent) precursed by Henry Cowell. Cf. the chapters on rhythm and durations in _New Musical Resources_. Actually, you can find some NC-like rhythms in late Scriabin; I think it was the 9th sonata that has triple-decker cross-pulses. Nihil novi sub sole? (Pardon my French;-) As to the spoken models: they generally work only when presented (aurally) by a "teacher" who has already mastered the given cross-pulse (say, 3:4). The syllables serve largely as something to hold on to while the "student" is trying to get a feel for the cross-pulse. Ideally accompanied by "listen to me ... now do it with me ... now try it yourself." The woids are then, in large part, to support the memory process when the student practices by herself afterwards. In short: they're not going to work well in e-mail, not unless you've had the first-hand experience. Cheers, Peter --------------- <http://www.bek.no/~pcastine/Litter/> --------------- Peter Castine | See Litter Power at work: [EMAIL PROTECTED] | Spectral Mutation Front-End [EMAIL PROTECTED] | <http://www.bek.no/~pcastine/Litter/Examples/> _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
