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
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