new 25' piece in 19-tet and JI (fwd)

http://music.columbia.edu/~chris/dissert.html

Hello everyone,

This is a new piece I wrote over a period of about a year.

On the page you'll find the following:

mp3's of "improvisations" or "explorations" of small sections of
the piece done with a computer-music "interface" I constructed so that the
piece itself becomes more like a painting, or a work of architecture---you
can listen to the whole thing, or "zoom in" on parts of the whole.
Another way of putting it is that I was interested in "erasing" the
boundary between so-called "minimalism" and "maximalism"---this piece is,
or can be, both.

You can also go to the bottom of the page and hear the piece as a
whole---or in 5 parts of 5-9' each.

Finally, if you want to learn more about the "aesthetic issues"
raised by the work, you can read the "essay" linked from the main page.
These include a section on "flatmusic" and the interface; a section on
the piece's construction, and the *why* of that construction--apropos for
this list considering recent discussions----and finally some aspects of
the sounds, and computer-music techniques.

Christopher Bailey

--- In MakeMicroMusic@yahoogroups.com, Christopher Bailey

/makemicromusic/topicId_4056.html#4056

<cb202@c...> wrote:
>
> http://music.columbia.edu/~chris/dissert.html
>
> Hello everyone,
>
> This is a new piece I wrote over a period of about a year.
>
> On the page you'll find the following:
>
> mp3's of "improvisations" or "explorations" of small sections
of
> the piece done with a computer-music "interface" I constructed so
that the
> piece itself becomes more like a painting, or a work of
architecture---you
> can listen to the whole thing, or "zoom in" on parts of the whole.
> Another way of putting it is that I was interested in "erasing" the
> boundary between so-called "minimalism" and "maximalism"---this
piece is,
> or can be, both.
>
> You can also go to the bottom of the page and hear the piece
as a
> whole---or in 5 parts of 5-9' each.
>
> Finally, if you want to learn more about the "aesthetic
issues"
> raised by the work, you can read the "essay" linked from the main
page.
> These include a section on "flatmusic" and the interface; a
section on
> the piece's construction, and the *why* of that construction--
apropos for
> this list considering recent discussions----and finally some
aspects of
> the sounds, and computer-music techniques.
>
>
> Christopher Bailey

***Hello, Chris!

Well, this certainly is an accomplishment, and a *very* interesting
webpage. Not only the music, but the background computer
construction and the esthetic discussion. Lots of stuff here, that's
for sure.

I had some questions, personally, about some of the ideas
of "flatness" since I don't feel that Xenakis and Ferneyhough are
really "flat..." Boulez and Babbitt I can see, as well as Cage.

And Feldman wasn't mentioned right off the top. Don't they like him
at Columbia...? [I had to get that joke in...]

Well, the piece really changes a lot. Sometimes it really *does*
sound like Cage, other times like minimalism...

The samples really sound great and listening in a "micro" way, as you
recommend, seems quite rewarding.

I'm hoping to listen to the entire soon, but I gave it a pretty
good "sample" at the moment.

Nice to know this is all in 19-tET, too...

Congrats to you!

Joseph Pehrson