Opening ears
This article will attempt to describe how and why a drawing method became central to my compositional process; why I use just-intonation-based ratios; how I incorporate ratios into my work in relation to the drawings; and how the consequences of working with musical material in the way I do affects...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/filigrane, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Anglais |
| Publié: |
Filigrane
2024
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | This article will attempt to describe how and why a drawing method became central to my compositional process; why I use just-intonation-based ratios; how I incorporate ratios into my work in relation to the drawings; and how the consequences of working with musical material in the way I do affects the listening experience. I will provide some background information (the origins of some aspects of my approach), and will explain why I, as a young composer at the end of the 20th century, was drawn to this method; to metre-less material; to the rejection of manuscript paper; to acoustical phenomena; and to a microtonality stemming from the just-intonation ratio system (and I will pose some philosophical questions along the way). |
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