Sunday, April 28, 2013


While writing the next post which will fit parallel processing into this thread, I took a break to work on a section of a piano piece I may or may not complete some day. The reason I am posting it here is that this segment is an algorithmic expansion of a single through-composed measure of music, about two and a half seconds, into 22 measures lasting around 50 seconds. (The title, "se," is the Proto-Indo-European root meaning "seed" or "sow.") I'm not putting this passage out as great music certainly (it's out of its context here anyway), but as an example of the potential for the "spiral group" of permutations for music composition. More specifics on the creation of this brief passage later when I get to applications of these permutations by three well-known contemporary composers.  For now, see if you can hear the spirals at work in this passage. And whether you can or not (I think not), does it matter to the music? In other words, what's the connection, if any, between construction and perception?

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