quoted 17 lines About the closest to it> >About the closest to it
> >that I've read is Charles Keil's work on "participatory discrepancies"
> >(PDs)--the micro-placement of notes before or after beats,
>
> Which is how I usually think of it, although maybe not micro. Where the
> syncopated beat falls not *on* the beat, nor does it fall *exactly in
> between* the beats, but rather just before or after the beat. And I'm not
> talking about random un-quantization for humanization effect, but rather the
> calculated employment of "missing" a beat slighlty to create tiny instants
> of tension and satisfaction.
>
>
> >I just know that when the second layer of
> >drums comes in in We's "in time," I'm powerless to resist. It's some
> >mysterious combination of micro-nuances in rhythm and the timbres of the
> >drum sounds, but I can't quantify any of it.
>
Along the same lines as the above, I would recommend Mike Ink's
(recording as M:I:5) album/12" "Mabstab" on Profan--his layering of
off-kilter loops and breaks creates an intense polyrhythmic effect,
shifting and lurching within the confines of the beat. Really stunning.
philip sherburne
phs@sirius.com