VART3492 :: Advanced Studio Technologies 2 - Polymeter Studies

Basic Polymeter studies & Rhythmic Displacement:

Asymmetric lengths force pulses to shift around each other.

(Equal measures appears to shift as odd measure begins a new cycle, we perceive the odd measure to be in the foreground (figure) as it contrasts prominently against the constant equal measure that appears more background (ground))

7/8 (top) against 8/8 (middle: downbeat/kick, lower: downbeat/snare)
 - taking 8 measures to resolve

9/8 (top) against 8/8 (middle: downbeat/kick, lower: downbeat/snare)

 - taking 10 measures to resolve

Using mixed meter to force resolve around another meter (in this case 4/4)

Re-casting Metal: Rhythm and Meter in the Music of Meshuggah Author(s): JONATHAN PIESLAK Source: Music Theory Spectrum, Vol. 29, No. 2 (Fall 2007), pp. 219-245

"The difference between metric dissonance and the overlay used by Meshuggah lies in the structure of repetitions within each rhythmic layer. Whereas the rhythmic layers of metric dissonance involve recurring, uninterrupted patterns, Meshuggah uses asymmetric repetitions in the guitars and bass part resulting from mixed or changing meter. Krebs points out that even metric dissonance “invariably involves some alignment of attacks, the alignment occurring after a number of pulses generally determined by the product of the cardinalities of the interpretative layers” (Krebs 1999, 31)."

VART3492 :: Advanced Studio Technologies - Class Notes (Phil Brophy)

Interesting idea:

Cubism - multiple perspectives - reaction to sick of looking at one perspective
(can this be appropriated to music?) // crux of personal installation work

How to approach this with rhythm?

Is Polymeter cubist? *(multiple time signatures playing over each other - multiple perspectives)







Baroque - "a strange mix of details" - broph


suggested to oliver to write a (drumcentric) breakcore track then remove all the drums
-art should be the answer to interesting questions/experiments - shouldn't it??



sibilance as a creative tool -
you can communicate with just consonants

remove sibilance/consonants/transients - pure vowels
mush, warm mushy noise

http://www.dariusjalexander.com/2015/07/14/mixers-tuning-phase/



http://www.britannica.com/art/isorhythm

isorhythm,  in music, the organizing principle of much of 14th-century French polyphony, characterized by the extension of the rhythmic texture (talea) of an initial section to the entire composition, despite the variation of corresponding melodic features (color); the term was coined around 1900 by the German musicologist Friedrich Ludwig.
A logical outgrowth of the rhythmic modes (fixed patterns of triple rhythms) that governed most late medieval polyphony, isorhythm first appeared in 13th-century motets, primarily in cantus firmus ortenor parts but occasionally in other voices as well. Abandoning all modal limitations, the isorhythmicmotet of the 14th century managed to derive decisive structural benefit from the systematic application of given rhythmic patterns without the inescapable dance associations of its 13th-century predecessor. The first great master of the isorhythmic motet was Guillaume de Machaut (c. 1300–77), but instances of isorhythm occurred as late as the early work of the 15th-century Burgundian composerGuillaume Dufay (c. 1400–74). As an analytical concept, isorhythm has proved valuable in connection with musical practices quite unrelated to those of the European Middle Ages—for example, peyote cult songs of certain North American Indian groups.