Funny you should mention this, a large part of my DMA dissertation
addressed a distinct type of form in much sub-Saharan African music,
where the 'material' is poised as polymetric potential to be teased out
by a skilled master drummer, in contrast to elaboration upon a fixed
harmonic grid more typical of Western variation/passacaglia approaches.
The potential such music has for a variety of 'reterritorialities' is
clear to me--what is not settled to my mind is whether articulated pulse
and tonal centers don't constitute overcoding which restricts the potential
for this kind of mobility. Said another way, can the 'effect' be had from
another process which would not give up this power?
////////////////////////////////
Drew Krause Miami, FL
dkrause@xxxxxxxxxxx
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
On Wed, 10 Dec 1997, Richard Scott wrote:
>
>
> -----Original Message-----
> From: Aden Evens [SMTP:aden@xxxxxxx]
> Sent: Wednesday, December 10, 1997 1:35 AM
> To: deleuze-guattari@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
> Subject: Re: BWO
>
> Do they shift and slide into each other, opening new
> possibilities and perpetually re-organizing themselves? Or do they
> establish a resonance, a meter, a regularity, which may be beautiful =
> like a
> crystal, but is likewise just as static? I could say more. . .
>
>
> ### ## ###
> Aden
> ### ## ###
>
> But must meter, regularity be static in this sense? In musical terms I =
> think not, take the The Meters themselves for example or James Brown, =
> Fela Kuti - or the Morrocan music of the Gnawa, Joujouka. A lot of this =
> music seems to strive towards a kind of stasis which itself becomes a =
> kind of flight, a journey inside... The need for constant change I think =
> is very Adorno-nian concept - the epitome of high modernism - and I =
> would say rather eurocentric. Even the most improvised music (which is =
> more concerned with the type of perpetual reorganisation you speak of - =
> by which I suppose I mean something like Derek Bailey) is in this way =
> very much based on history, a logical line of progression through time. =
> Cannot repetition - which in music seems to act as line out of past and =
> future into a more momentary sort of existence, also attest to the =
> constancy of change, but in a different way? I wonder how all this =
> relates to the BWO?
>
> Richard
addressed a distinct type of form in much sub-Saharan African music,
where the 'material' is poised as polymetric potential to be teased out
by a skilled master drummer, in contrast to elaboration upon a fixed
harmonic grid more typical of Western variation/passacaglia approaches.
The potential such music has for a variety of 'reterritorialities' is
clear to me--what is not settled to my mind is whether articulated pulse
and tonal centers don't constitute overcoding which restricts the potential
for this kind of mobility. Said another way, can the 'effect' be had from
another process which would not give up this power?
////////////////////////////////
Drew Krause Miami, FL
dkrause@xxxxxxxxxxx
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
On Wed, 10 Dec 1997, Richard Scott wrote:
>
>
> -----Original Message-----
> From: Aden Evens [SMTP:aden@xxxxxxx]
> Sent: Wednesday, December 10, 1997 1:35 AM
> To: deleuze-guattari@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
> Subject: Re: BWO
>
> Do they shift and slide into each other, opening new
> possibilities and perpetually re-organizing themselves? Or do they
> establish a resonance, a meter, a regularity, which may be beautiful =
> like a
> crystal, but is likewise just as static? I could say more. . .
>
>
> ### ## ###
> Aden
> ### ## ###
>
> But must meter, regularity be static in this sense? In musical terms I =
> think not, take the The Meters themselves for example or James Brown, =
> Fela Kuti - or the Morrocan music of the Gnawa, Joujouka. A lot of this =
> music seems to strive towards a kind of stasis which itself becomes a =
> kind of flight, a journey inside... The need for constant change I think =
> is very Adorno-nian concept - the epitome of high modernism - and I =
> would say rather eurocentric. Even the most improvised music (which is =
> more concerned with the type of perpetual reorganisation you speak of - =
> by which I suppose I mean something like Derek Bailey) is in this way =
> very much based on history, a logical line of progression through time. =
> Cannot repetition - which in music seems to act as line out of past and =
> future into a more momentary sort of existence, also attest to the =
> constancy of change, but in a different way? I wonder how all this =
> relates to the BWO?
>
> Richard