Re: [microsound] sgnidroceR esreveR

[mail@xxxxxxxxxxxx]

> I've just completed my Masters in Music Technology, and for the
> composition I did for the thesis (for drum kit and tape), I studied a
> lot of African music as I'm a jazz drummer and wanted to explore the
> links between them. Also a healthy electronic and IDM influence on my
> thesis too ;).

I'm a drummer too and have been interested in polyrythms ever since I
started drumming 20 years ago. I have dug mostly heavy metal drumming like
band Meshuggah from Sweden. They explore intensely perceptive disruptions
in rythm and harmony, and even academical thesis have been written about
them.
As I was born in South Africa I have also been into tribal rythms. For
example music from Ghana (I have some incredible recordings from 1978).
Here in latin america we have intrincate rythmical expressions too, like
candombe and murga (from my country Uruguay).
Talking about electronic music, there are pretty few examples of
non-steady rythms that really keep the groove going on. Most people tend
to ambient and sounscaping when they pursue other rythmical possibilities.
Thats why Im asking if someone knows e.m. examples other than Autechre.

> But... on those two quotes above: "combining completely different
> track"[with different "meters"] is exactly how the majority of African
> music works, from what I've discovered during my research. The ability
> to do this arises out of the fact that there's no such thing as time
> signatures or meters in traditional African music - all that matters
> is the pulse.
>
> Apparently, this was the same in Europe until the 16th century. It was
> known as Tactus, which referred to the bending of a finger to indicate
> a beat. No [1,2,3,4] or [1,2,3], only [1,1,1,1,1,1,1,1,1......].
>
> This definately got me thinking as regards IDM, those kind of moments
> described in the quotes and also the moments where time seems to
> breakdown completely yet still flow. I would be pretty convinced that
> the reason that time can be booted around the place and totally
> distorted, yet sound good, is the maintainence of pulse. As you say,
> it's not a "real" disruption of linearity, and the constant feeling of
> the subjective pulse is the reason I propose why. I haven't checked it
> out yet (I'm recording the live drum part this evening to hand up
> tomorrow!) but I will!
>
> Tony
>
>
>
> On 9/7/06, a z <sub_urban01@xxxxxxxxx> wrote:
>> http://www.ubu.com/film/ligeti.html
>>
>> { brad brace } <bbrace@xxxxxxxxxx> wrote:
>> Gyorgy Ligeti: Poeme Symphonique for 100 Metronomes
>>
>> (see/hear it on youtube)
>>
>> /:b
>>
>>
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>> Stay in the know. Pulse on the new Yahoo.com.  Check it out.
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