Sunday, March 18, 2012
When I first did my early graph music, things had to come in a certain time span. Now it didn’t have to come exactly in the beginning of the time span, and as you know it can come anywhere, like crossing a street, that’s why I called them Intersection, to me time was the distance, metaphorically, between a green light and a red light. It was like traffic, it was a control. So I always controlled the time, but I didn’t control the notes. When I started to do my free durational music I controlled the notes but I didn’t control the time. So both these ideas meant I had to leave something out.


When I first did my early graph music, things had to come in a certain time span. Now it didn’t have to come exactly in the beginning of the time span, and as you know it can come anywhere, like crossing a street, that’s why I called them Intersection, to me time was the distance, metaphorically, between a green light and a red light. It was like traffic, it was a control. So I always controlled the time, but I didn’t control the notes. When I started to do my free durational music I controlled the notes but I didn’t control the time. So both these ideas meant I had to leave something out.

Posted at 4:24 PM 20 notes Tags: morton feldman notation intersection

Notes

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    “When I first did my early graph music, things had to come in a certain time span. Now it didn’t have to come exactly in...
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    Loosely relevant to one of my slowly gestating prototype concepts:
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