Re: [microsound] sgnidroceR esreveR

[tony higgins <tony.higgins2@xxxxxxxxx>]

**********************
What I call "virtual non-linear" is the polyrythms AE develop that are not
reduced only to playing 3/4 over 4/4 or stuff like that. One good example
it track 5 "Iera". Listen to time 3.47. The section that starts there
combines different tempos and time signatures within the same bar or group
of bars. Sounds like they had combined completely different tracks into
one groovy fluid musical unit. The LP has examples like this all over. LP5
has some examples like these too. Many people think they use generative
patches to produce this odd rythms, but thats not true. This is the result
of painstaking sample selection and audio editing.

I would like to know if anybody knows anything similar to this in
electronic music. I havent found nothing like AE, even though there are
millons of copycats.

Well, with virtual non-linear I mean a rythmical composition that
perceptively (virtually) breaks the tempo/signature continuum. It is not a
"real" disruption of time linearity off course. That has not been invented
yet, or has it? ;)
********************


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 ;).

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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