Global ETD Search

1	In order and out of time : compositions exploring processes, polymeters and balance Gisby, Steven David January 2010 (has links) These compositions explore concepts based on processes and polymeter. Drawing on influences ranging from Steve Reich to Conlon Nancarrow and Nik Bärtsch they use and develop an approach to rhythmic thinking based on ostinati constructed of layers of different speeds. Through the use of click tracks, they look at how an ensemble can be enabled to perform rhythms that, without the electronic support, would be unplayable – crossing a line between the possible and the impossible. By means of processes built on a number of different ideas, the pieces explore how these can be used to affect both the behaviour and evolution of musical material, as well as using them to create fixed structures within which I then move subjectively and more intuitively. The question of balance, of moving between two points or approaches that are seemingly opposites, has also been examined: looking at how the journey affects the destination, where the simple becomes complex, and where personal meets impersonal. 780
2	A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 Evans, Michael C. 25 April 2011 (has links) No description available. European History Fine Arts Medieval History Music Ars subtilior history of musical notation medieval music rhythmic complexity
3	Factors Affecting the Perceived Rhythmic Complexity of Auditory Rhythms Vinke, Louis Nicholas 26 April 2010 (has links) No description available. Experiments Music Psychology rhythm perception and cognition perceived rhythmic complexity tempo musical training beat perception tapping measures of complexity auditory rhythms
4	Takt och Otakt Gahrton, Daniel January 2019 (has links) The theme of the song Lonely Woman by Ornette Coleman and the song It’s Halloween by The Shaggs has something in common when it comes to how the different instruments relate rhythmically to each other. I would call it a musical quality that could be described as a feeling of ungraspability. I had this quality in focus during a process of listening to music, writing music and playing music. To describe the cause of this quality I felt the need to define two concepts I named 1) rubato structures; rhythmic structures that aren’t based on, nor establish a steady pulse, and 2) tempo structures; rhythmic structures that are based on and establishes a steady pulse. Throughout the project I identified the cause of the quality, to be combinations of rubato structures and tempo structures, however my understanding developed during the project to a more specific definition which was layers of rubato structures and tempo structures. In the 6 compositions that this project resulted in, I created a number of musical situations with my group, which all had these elements. When listed, these situations rather systematically go through ways of combining structures in regards to different parameters. When listened to, at least for me, several of them give rise to the feeling of ungraspability I had in focus. My attempts to describe and analyze the many inspiring examples stretching from Charles Ives to Swedish contemporary vocal folk music, helped me to develope tools for making music of my own, rather than resulting in some objective truth, or a system for describing and analyzing music that would work objectively. One thing I would consider objectively true, however, is that there are a lot of different ways of creating rhythmic complexity, where some ways are very tedious and difficult for the musicians. With rhythmic layers of rather simple structures, containing rubato structures, I can create rhythmic complexity beyond the quantifiable, just by putting the human impulses in control. Takt in Swedish could mean many things, such as beat, meter, bar, measure. Otakt is often used as a negative word to describe a failed attempt to play in time, but is also linguistically the negation of takt (thus meaning no beat, no meter, no bar, no measure). Takt och (and) Otakt is therefor a play with words, since otakt relates to things in this study that is embraced rather than avoided. / <p>Bilaga: CD</p> rhythm rhythmic layers rubato tempo pulse contrast composition composing quintet ostinato loop structure polyphony autentic ungraspable impulse Ives Shaggs Ornette Coleman rhythmic analyzis composing tools rhythmic complexity organic rhythm composing for improvisors rytmik rytmiska lager rubato tempo puls kontrast komposition komponerande låtskrivande kvintett ostinato loop strukturer polyfoni autentisk ogreppbarhet impulser Ives Shaggs Coleman Ornette rytmisk analys kompositionsverktyg rytmisk komplexitet organisk rytmik komponera för improvisatörer Music Musik

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