I always employ environment contact filters such as adjustments, modifications and control aiming at maximizing or diminishing the effect of the contact experience. These filters are grouped in cognitive science while they are innate in old nations’ behaviors all over the world. I tackle this issue because it is very important to my everlasting musical composition projects. I am always in the search for realistic applicable models or schemata of integrated subjects for the high level design of my music. I am still convinced with Milton Babbitt and Charles Wuorinen Time-Point structure that divides the form according to the intervallic contents of the 12-tone row, but I felt there is something missing still. For example, tension and release are having obsolete results as the modern perception is getting used to so much tension without the necessities for any release and the same applies to harmonious structure that drives you up the wall until you fall asleep. The implication, implication and realization is a good model (Eugene Narmour) but again, implication of what and realization of what? Well I thought, if I take the environment contact filters; Resistances, Moderations, Modifications, Interruptions and Disturbances as parameters for Eugene Narmour’s Model and apply them on prototypes of archetypes, intensity, directionality, path, Interactionality, and source-destination in a measured schema, I am getting more realistic results supporting the continuity, sustain or closure of each individual prototype within the process of music creation. I am postponing Egocentrism.
Posted on: Sat, 20 Jul 2013 20:12:15 +0000
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