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as a sidenote, when people talk about whether so-and-so is mostly rythm or mostly melody, it can be said that all music is really only rythm. when a pulse becomes rapid enough, we begin to hear it as pitch, and instead of "bpm" we refer to "frequency". e.g., when you hear a pitch, you receive a rapid succession of "beats" (changes of air pressure) on your eardrum. i could imagine someone (like r. devine maybe) taking this idea and composing with bpm organizations (instead of pitch organizations). like, simultaneous beat collages being "chords", etc. then, if you speed the track up really really fast (imagine gradually spinning the vinyl faster and faster...) you begin to hear a melody. j __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Well yes, but ideally one would not have to spin the vinyl faster to hear this melody. The record that opened my ears to this concept was released in 1956 - it was Max Roach's playing on Thelonious Monk's "Brilliant Corners" that awakened me to the real beauty of rhythm as melody. The idea of "simultaneous beat collages" sounds interesting, though. The general notion of polyrhythms comes to mind, and I think of early Steve Reich and his work with rhythmic phase patterns, but this is not quite the same as the "chords" you suggest. The trick is that you still have two pieces - one to be played slowly, where waveforms are clearly separate from one another and exist as individual aural events; or where the ear ceases to distunguish the separation between the pulses - much like the eye is fooled into seeing 24 frames per second as continuous motion. Matt Saturday, January 27, 2001, 2:44:56 PM, jon wrote:

quoted 3 lines as a sidenote, when people talk about whether

> as a sidenote, when people talk about whether > so-and-so is mostly rythm or mostly melody, it can be > said that all music is really only rythm.

quoted 5 lines when a pulse becomes rapid enough, we begin to hear it

> when a pulse becomes rapid enough, we begin to hear it > as pitch, and instead of "bpm" we refer to > "frequency". e.g., when you hear a pitch, you receive > a rapid succession of "beats" (changes of air > pressure) on your eardrum.

quoted 7 lines i could imagine someone (like r. devine maybe) taking

> i could imagine someone (like r. devine maybe) taking > this idea and composing with bpm organizations > (instead of pitch organizations). like, simultaneous > beat collages being "chords", etc. then, if you speed > the track up really really fast (imagine gradually > spinning the vinyl faster and faster...) you begin to > hear a melody.

quoted 1 line j

> j

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> __________________________________________________ > Do You Yahoo!? > Yahoo! Auctions - Buy the things you want at great prices. > http://auctions.yahoo.com/

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On Sun, 28 Jan 2001, Matt U wrote:

quoted 5 lines Well yes, but ideally one would not have to spin the vinyl faster to

> Well yes, but ideally one would not have to spin the vinyl faster to > hear this melody. The record that opened my ears to this concept was > released in 1956 - it was Max Roach's playing on Thelonious Monk's > "Brilliant Corners" that awakened me to the real beauty of rhythm as > melody.

Yeah, Roach was a genius at this. Other later practitioners of this particularly tonal school of drumming are Masahiko Togashi (active in Japan since the late 60s) and the guy from Supersilent. Before we head off into wave/particle duality, I do want to mention that the original melody/rhythm duality was brought up in the context of Schaeffer et al's _Study of Sound Objects_, which is a fascinating audio essay pertaining to the technical aspects of musique concrete-making and how they relate to sound and language (a relation at the heart of French musique concrete). The system of music production that Russolo talks about in _Art of Noise_ is remarkably to the system that the GRM devised. -rob --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org