Subject: Re: Texture / gesture
From: bill thompson (email@example.com)
Date: Tue Sep 20 2005 - 06:34:52 EDT
I tend to hear
> gesture and texture
> as complementary modes of perception -- texture
> being the (vertical)
> integration of spectral elements, and gesture being
> the segregation
> and streaming of sounds.
as usual, you make a good point and i like your
definition. when i do some of these long, slowly
evolving pieces, i do of course bring in new sounds,
which involves introducing them to the sound-stream as
it were...which i guess could be considered an example
maybe i'm confusing the presence of gesture in any
form with one that sounds like it's derived from the
vocabulary of more traditional instrumental
playing/writing (which to my ears tends to detract
from at least what i'm trying to do)
in my work, i usually try to make an entrance of a new
sound imperceptible and if not or if it does do more
then 'just sit there' then i tend to want to make it
sound as though something else were doing the
'gesturing' (as in a natural, chaotic, or mechanical
process, but not me trying to 'express' myself etc)...
but that's just me [insert appropriate bubba ho-tep
quote here] and it's done to reach certain goals i'm
interested in and is just one way of approaching how
to 'play' electronics.
what is interesting, at least to me, is the fact that
working in this way has influenced how i play and
write for acoustic instruments. would this be true
for other composers on this list? or for composers
such as penderecki and others that 'came back' from
electronics to work with instruments in a new way?
does anyone have examples/ideas about this?
"The more you think about things the weirder they seem." -Calvin
Yahoo! Mail - PC Magazine Editors' Choice 2005
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