| idea kitchen at TRIBES Coordinated by Patrick Brennan & Steve Cannon sonispheric..tripod.com http://www.myspace.com/ideakitchen 1st Sunday of each month 3 -- 5:30 pm a new guest composer each month SUNDAY, DECEMBER 7 idea kitchen: 3 - 5:30pm David Pleasant: CLONE Times MUSIC AT sonispheric.tripod.com/IdeaKitchen-downloads |
Gathering of the Tribes
285 E 3 St., 2nd Fl., (Bet C & D)
(212) 674–3778 info@tribes.orgthe project This is an unfunded musician initiative for musicians & interested listeners to create one setting where musicians can
share ideas & learn from each other, where compositional ideas get worked out in a public domain among a variety of personalities & dispositions. For listeners,
this is about demystifying music & is especially oriented toward dispelling attitudes that creative & original musics are somehow "hard" to listen to.invitation to
composers"Composer" here means anybody who invents a way to generate music. This includes, alongside notated & head composition, methods & strategies
for coordinating live composition (AKA improvising)If you have something different for musicians to play, &, even more importantly, if it's something that
addresses how musicians might conceive & hear music differently, please contact patrick brennan at ideakitchenmusicmusic@gmail.com with your proposal.
invitation to playersBring your instruments. Bring your music stands. If notated music is involved, parts & scores can be downloaded in advance from the
webpage whenever possible.equipmentAt Tribes there's some space, electricity, chairs & an upright piano. Percussion, amplifiers, music stands -- are bring-your-
own. formatThe first 1/2 hour, from 3 till 3:30 is available for each guest composer to perform with whatever musicians if she/he chooses. The exchanges with
musicians would run from 3:30 -5:30 (or from 3 without a performance) web
sonispheric.tripod.com/IdeaKitchen
ideakitchenmusicmusic@gmail.comSUNDAY, DECEMBER 7
idea kitchen: 3 - 5:30pm
David Pleasant: CLONE Times
The codification of repetition, as observed by Robert Farris Thompson and others, may reveal something quite different. Western interpretations of repetition
involve replication; and supposed that variance from the perfect copy is an interruption of flow and expectation. Regularity in tone, without break and interruption
in flow, is a singular option. It alone epitomizes profound beauty; such as Bel Canto. So-named repetition in African form may be a bit different. The exact
duplication of anything is quite rare. Rhythms that appear to repeat may serve at least 2 perspectives in cosmological condition.
1) Repetition may be a reminder of the constancy and/or infinity of being.
2) It may indicate gradations in time, momen t/condition that are parts of beat, time, and/or rhythm.
Those events may indicate syncopation in and of time that are a fractal rendering of the moment. In either case, the events respond less like clones and reflex
more like siblings.. The repetition is different than a clock-like pattern of equidistant, even, symmetrical mark. Repetition is a resonant quality of syncopated, poly-
metric, polyrhythmic dimension. It is not a frame for pulse. It is an expressionistic quality of condition beyond replication, and quantized contrivance. In this
sense, it is not repetition at all. It is rhythm or time that is harmonized.
A consideration of embellishment, strum speed, intent, and intensity reveals a few relevant details. For example: The strum speed of a guitar used to land a chord
on the downbeat of a 70 beat per minute pulse has to occur at a rate per/beat faster that 70bpm. The player must compress speed when he strikes the six
successive strings. A quantized treatment often obliterates the unique shape that individual players offer to each beat. Quantized treatment makes all downbeats
uniform and perfect. That goes for the single player as well as sets of instruments. The character of each beat is in effect cloned. Each beat would otherwise be a
rhythm chord. The loci of intent and intensity are deflected. The peculiar contingencies of their expression a re rendered incidental, trivial, or irrelevant. This is a
clear example of repetition. Uneven, imperfect, flexible, asymmetric currents are a reservoir of conditional output. The condition illustrates a shape or
characteristic of actual expression that overlays the uniformity of pulse. The ambiance created by collective imperfection creates a parallel hub for expression.
Presumed repetition is actually syncopation. It is a fractal exposition of the moment that engages larger issues of material content in eternal resonance. Resonance
is an independent, non-entropic activity; unlike repetition or duplication. Rhythm engages investigation, modification, and exploration. Quantization, either virtual
or en vivo, limits or constrains the ambient potential of rhythm. The succinct framing of pulse removes cyclical elements of polyrhythm, resonance, and
syncopation inherent in semantic rhythmic practice. It optimizes a "pure tone/ Bel Canto" approach to rhythm that supplants multiple temporal elements: harmonic
rhythms or rhythms that go together. The multiple elements crowd, interrupt, cloud, or busy the otherwise single pure line.
+
The guitar is syncopated by default. The end strum note is always an odd or weak beat, yet, it is placed as the strong beat or down beat. The compression or
decompression of those notes into a downbeat lends character to time. They exist on the mark, before the mark, after the mark and sometimes in the mark. The
same situation can happen with other instruments or with sets of drums. The fat, tall, short, wide, skinny brother or sister is a family member irrespective of their
lack of symmetry. They are not clones of one another.
The term repetition and/or its consideration as a revision of pattern may be inappropriate and incomplete. Other considerations may allow time/rhythm to exist in
an elliptical rather than circular situation. The forces available in that irregularity or asymmetry vary, yet, the constancy of them as a whole endures. ---- ©2008
David Pleasant www.davidpleasant1.com
285 E 3 St., 2nd Fl., (Bet C & D)
(212) 674–3778 info@tribes.orgthe project This is an unfunded musician initiative for musicians & interested listeners to create one setting where musicians can
share ideas & learn from each other, where compositional ideas get worked out in a public domain among a variety of personalities & dispositions. For listeners,
this is about demystifying music & is especially oriented toward dispelling attitudes that creative & original musics are somehow "hard" to listen to.invitation to
composers"Composer" here means anybody who invents a way to generate music. This includes, alongside notated & head composition, methods & strategies
for coordinating live composition (AKA improvising)If you have something different for musicians to play, &, even more importantly, if it's something that
addresses how musicians might conceive & hear music differently, please contact patrick brennan at ideakitchenmusicmusic@gmail.com with your proposal.
invitation to playersBring your instruments. Bring your music stands. If notated music is involved, parts & scores can be downloaded in advance from the
webpage whenever possible.equipmentAt Tribes there's some space, electricity, chairs & an upright piano. Percussion, amplifiers, music stands -- are bring-your-
own. formatThe first 1/2 hour, from 3 till 3:30 is available for each guest composer to perform with whatever musicians if she/he chooses. The exchanges with
musicians would run from 3:30 -5:30 (or from 3 without a performance) web
sonispheric.tripod.com/IdeaKitchen
ideakitchenmusicmusic@gmail.comSUNDAY, DECEMBER 7
idea kitchen: 3 - 5:30pm
David Pleasant: CLONE Times
The codification of repetition, as observed by Robert Farris Thompson and others, may reveal something quite different. Western interpretations of repetition
involve replication; and supposed that variance from the perfect copy is an interruption of flow and expectation. Regularity in tone, without break and interruption
in flow, is a singular option. It alone epitomizes profound beauty; such as Bel Canto. So-named repetition in African form may be a bit different. The exact
duplication of anything is quite rare. Rhythms that appear to repeat may serve at least 2 perspectives in cosmological condition.
1) Repetition may be a reminder of the constancy and/or infinity of being.
2) It may indicate gradations in time, momen t/condition that are parts of beat, time, and/or rhythm.
Those events may indicate syncopation in and of time that are a fractal rendering of the moment. In either case, the events respond less like clones and reflex
more like siblings.. The repetition is different than a clock-like pattern of equidistant, even, symmetrical mark. Repetition is a resonant quality of syncopated, poly-
metric, polyrhythmic dimension. It is not a frame for pulse. It is an expressionistic quality of condition beyond replication, and quantized contrivance. In this
sense, it is not repetition at all. It is rhythm or time that is harmonized.
A consideration of embellishment, strum speed, intent, and intensity reveals a few relevant details. For example: The strum speed of a guitar used to land a chord
on the downbeat of a 70 beat per minute pulse has to occur at a rate per/beat faster that 70bpm. The player must compress speed when he strikes the six
successive strings. A quantized treatment often obliterates the unique shape that individual players offer to each beat. Quantized treatment makes all downbeats
uniform and perfect. That goes for the single player as well as sets of instruments. The character of each beat is in effect cloned. Each beat would otherwise be a
rhythm chord. The loci of intent and intensity are deflected. The peculiar contingencies of their expression a re rendered incidental, trivial, or irrelevant. This is a
clear example of repetition. Uneven, imperfect, flexible, asymmetric currents are a reservoir of conditional output. The condition illustrates a shape or
characteristic of actual expression that overlays the uniformity of pulse. The ambiance created by collective imperfection creates a parallel hub for expression.
Presumed repetition is actually syncopation. It is a fractal exposition of the moment that engages larger issues of material content in eternal resonance. Resonance
is an independent, non-entropic activity; unlike repetition or duplication. Rhythm engages investigation, modification, and exploration. Quantization, either virtual
or en vivo, limits or constrains the ambient potential of rhythm. The succinct framing of pulse removes cyclical elements of polyrhythm, resonance, and
syncopation inherent in semantic rhythmic practice. It optimizes a "pure tone/ Bel Canto" approach to rhythm that supplants multiple temporal elements: harmonic
rhythms or rhythms that go together. The multiple elements crowd, interrupt, cloud, or busy the otherwise single pure line.
+
The guitar is syncopated by default. The end strum note is always an odd or weak beat, yet, it is placed as the strong beat or down beat. The compression or
decompression of those notes into a downbeat lends character to time. They exist on the mark, before the mark, after the mark and sometimes in the mark. The
same situation can happen with other instruments or with sets of drums. The fat, tall, short, wide, skinny brother or sister is a family member irrespective of their
lack of symmetry. They are not clones of one another.
The term repetition and/or its consideration as a revision of pattern may be inappropriate and incomplete. Other considerations may allow time/rhythm to exist in
an elliptical rather than circular situation. The forces available in that irregularity or asymmetry vary, yet, the constancy of them as a whole endures. ---- ©2008
David Pleasant www.davidpleasant1.com
| The New York Optimist January 2009 |
