Re: [microsound] sgnidroceR esreveR

[mail@xxxxxxxxxxxx]

Yeah youre right, no different time signatures in this case. Just
different tempos. But still very difficult to play live, and I think they
do.


> that's me again by the way, I keep sending it from my other email
> address!!
> Tony
>
> On 9/8/06, john clarity <johnclarity@xxxxxxxxx> wrote:
>> Hi Hernan,
>>
>> Again, I'd ask whether it's different time signatures or not... it
>> might be a perception of it, but it's only a perception. It's all due
>> to the "process" which creates the music. The musicians (or was this
>> one made with tapes?) don't consider it or create it by thinking of
>> different time signatures, only of one being ever so slightly faster
>> than the other, so that their patterns phase.
>>
>>
>> On 9/8/06, mail@xxxxxxxxxxxx <mail@xxxxxxxxxxxx> wrote:
>> > Another good example of musicians playing different time signatures
>> and
>> > tempos is Steve Reich's "Violin Phase". The Kronos Quartet version is
>> > incredible. I wish I had the opportunity to see this piece live. I
>> wonder
>> > how can the violin players isolate themselves from what the others are
>> > playing.
>> > Still waiting for more examples like these in electronic music...
>> >
>> > Hernan
>> >
>> >
>> >
>> > > Hi Martin,
>> > >
>> > > I don't dispute for a second what you're saying. I didn't say
>> there's
>> > > no such thing as structure, just time signatures. It's all in my
>> > > thesis too!! What the author of that book proposes is that the
>> > > patterns do come together, and can be layered in multiple
>> > > "time-signatures", because of a basic underlying pulse which unites
>> > > them all. (The other structural aspect which he also acknowledges,
>> > > which you mention, is that the patterns are learned in relation to
>> one
>> > > another - one pattern defines another. Also that many musicians find
>> > > it hard to play one pattern without having someone play the other
>> one
>> > > too).What you say about a pattern that every drummer knows and that
>> > > holds it together, even if it's not being played, is exactly the
>> idea
>> > > of the "Metronomic sense", that the musician requires a subjective
>> > > pattern or pulse underlying the ones that are actually played. To
>> link
>> > > all of the last few posts beautifully together, Ligeti writes in the
>> > > foreword of that very book I'm referencing now that the overall
>> > > pattern is not actually played by any one individual musician - it
>> is
>> > > the combinations that give a subjective super-pattern from the
>> > > components.
>> > >
>> > >
>> > > What I'm talking about, I suppose, is the impression that many early
>> > > ethnomusicologists got that they perceived that each individual part
>> > > had its own time signature, and that all of the time signatures were
>> > > happening at the same time. Which they couldn't understand. The
>> > > answer, I hope you'll agree, is not multiple time signatures, but
>> > > actually a combination of the subjective pulse which I mentioned
>> above
>> > > and the understanding of the relationships of patterns to one
>> another
>> > > that you mention, which I left out last time!
>> > >
>> > > One of the other authors who had studied for many years in Ghana
>> > > before writing his book made the very good point
>> >
>> >
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>> >
>>
>
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