tag:blogger.com,1999:blog-2402590363773885109.post7907192391412667665..comments2022-10-07T03:31:10.455-07:00Comments on Hannaford and Esmen: 20th century music: HEs20http://www.blogger.com/profile/12458395038656085321noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-2402590363773885109.post-16751045662148549372016-10-20T07:47:28.920-07:002016-10-20T07:47:28.920-07:00Listen to Catalan or Boriquen percussion,then thin...Listen to Catalan or Boriquen percussion,then think how can that sound in a different context,ie. Rodrigo & Gabriella. I hope this inspired you.Anonymoushttps://www.blogger.com/profile/16367391716584980198noreply@blogger.comtag:blogger.com,1999:blog-2402590363773885109.post-35184794500195968972016-10-20T07:46:43.788-07:002016-10-20T07:46:43.788-07:00Listen to Catalan or Boriquen percussion,then thin...Listen to Catalan or Boriquen percussion,then think how can that sound in a different context,ie. Rodrigo & Gabriella. I hope this inspired you.Anonymoushttps://www.blogger.com/profile/16367391716584980198noreply@blogger.comtag:blogger.com,1999:blog-2402590363773885109.post-80226484107012188342016-10-07T10:32:27.598-07:002016-10-07T10:32:27.598-07:00Great food fore thought. And now onto my work whil...Great food fore thought. And now onto my work while eyes are good for the day.Jeff Ladehttps://www.blogger.com/profile/14987478670871713521noreply@blogger.comtag:blogger.com,1999:blog-2402590363773885109.post-65722959088496769212016-10-07T00:46:17.847-07:002016-10-07T00:46:17.847-07:00During the period of discussing symmetrical scales...During the period of discussing symmetrical scales I started looking at the F series to place longer term events rather than rhythms, the oboe work about Marcel Morceau is an example<br />https://www.youtube.com/watch?v=Q-1z3rZ8_so<br />As you can end up with events being so far apart that great holes appear in the structure one simple solution is to have the series in forward and reverse mode simultaneously. The variations created by reversing on the second, third, fifth, eighth etc beats are worth exploring (for me) in the context of the musical intention that drives the music. perhaps for better mathematicians its potential would be worth exploring in greater detail.<br /><br />The other day I was driving along taking Mrs. H to the shops when I heard a piece of medieval dance music, I asked her if she felt like I did that it could just as easily have had a vocalist and text as a reed instrument part, she did a short improvisation of French text to the rhythms of the piece. I'm not quite sure why I shared that but the memory of it has been returning to me!<br /><br />I am still clarifying my thoughts on the identities of longer term events v short term events, so I am of two minds about the long rhythmic sequence, though I accept the difficulty if you are trying to be aware of the process as a process. This might be psychology v music.HEs20https://www.blogger.com/profile/12458395038656085321noreply@blogger.comtag:blogger.com,1999:blog-2402590363773885109.post-80995552258735110532016-10-06T23:09:56.506-07:002016-10-06T23:09:56.506-07:00Thank you for pointing out possibly te most signif...Thank you for pointing out possibly te most significant contribution to the western music.<br /><br />The hindsight provided by your practice of using multiples of elements of Fibonacci series is also interesting. In my search for examples, there was a general scarcity of 7X and 11x length as the held note caesura. If the series are limited to F(0,1) = 1 1 2 3 5 ... up to F(0,4), then 7x and 11 x would be missing. In my observation, this lack of 7x or 11x might be due to small sample or due co-incidence but the possibility of a real effect can not be dismissed.Anonymoushttps://www.blogger.com/profile/02780066124269310471noreply@blogger.comtag:blogger.com,1999:blog-2402590363773885109.post-90332329497669281152016-10-05T14:20:31.508-07:002016-10-05T14:20:31.508-07:00A long rhythmic sequence is hard to interpret, per...A long rhythmic sequence is hard to interpret, perform, or listen to. Agreed. I think here that it is useful to think about two major reasons for music, dancing and the church. On the whole those who go in for dancing are in the majority, and for dancing you need brief rhythmic units. It is essentially to aid and systematise this that some guy in the C16th invented bar lines, which have dominated music ever since. Those who dont go in for dancing, though, dont need bar lines, and these are to be found in the church. After all, your average archbishop does not do the cancan. The result is that church music has a very much reduced rhythmic structure and its notation does not require barlines. Certainly, its nomenclature incorporated rhythmic elements such as note length which were ungainly but worked, and even were familiar enough for Ockeghem to produce works like his Missa Prolationem, but I dont think his audiences were ever tempted to try to dance to it.<br /><br />My own music tends towards the contrapuntal, and so Ockeghem is a hero of mine. Sometimes I have felt the need to kill small-scale rhythm - I admit I'm not a dancing man myself - and I can do it by writing melodic lines only employing Fibonacci multiples of a basic short note, eg. a quaver or semiquaver. It has advantages in writing counterpoint, where the 5 and the 13 break up the flow of the lines and enable new lines to show up. It is as artificial as medieval prolations, but I like it.Anonymoushttps://www.blogger.com/profile/08628710020253201964noreply@blogger.com