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Post by fuguestate on Sept 29, 2017 18:02:29 GMT
Haha, well, that remains to be seen whether I can do that in a convincing way!
I first got this idea, or at least an initial form of it, from Sibelius' 7th symphony (IIRC), where he slows down the tempo by speeding it up -- making the current music go faster and faster until it becomes a flurry of notes that then turns out to be the accompaniment to a slow theme, introduced as an augmentation over the busy notes. (I've no idea how this is notated in his score btw, I got this just by listening.)
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Post by gx on Sept 29, 2017 18:37:58 GMT
Yes, i find this a very attractive idea as well that you mention about the Sibelius. Love Britten's culmination as well! Not the same, really, but in "Wachet Auf' Bach has the main theme become the accompaniment the the Other main theme.. (does that in 'Jesu' as well). I saw a performance not too long ago of his (Britten's) "Billy Bud'..and although a powerful drama, i found myself (surprisingly) disappointed w the score.. I especially love Britten's string quartets.
HS - that would be quite a feat, to do that 'zooming out' as a culmination/climax. A great idea!
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Post by fuguestate on Dec 6, 2018 21:16:58 GMT
Wow, it's been more than a year now and I still haven't made any progress on this. Where's the time shop when you need one... Anyway, just dropping in to say that a new idea struck me today about fractal fugues, and that is, one might be constructed by gradual dilation (augmentation), i.e., first voice starts with subject, 2nd voice enters with augmented subject, 3rd voice enters with even more augmented subject, etc., until the last voice is so augmented that it lasts for the rest of the piece, while the other voices dance around it. The fractality is thereby recursively ensured, by the subject permeating the entire piece through the voices, esp. the last one that spans its entirety, yet without the intractible combinatorial explosion of the number of subject entries that would otherwise be required if we had followed the formulaeic structure of recursively nesting subject entries. This also gives a less constrained structure to work with, thereby allowing more artistic freedom to mold the music into a convincing piece. (What about this idea, Mike Hewer? ) P.S. Of course, while the last voice is sounding out the subject really really slowly, there can be other entries in the other voices, thereby the possibility of maintaining the illusion of recursive subject entries.
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Post by Mike Hewer on Dec 18, 2018 9:31:01 GMT
Wow, it's been more than a year now and I still haven't made any progress on this. Where's the time shop when you need one... Anyway, just dropping in to say that a new idea struck me today about fractal fugues, and that is, one might be constructed by gradual dilation (augmentation), i.e., first voice starts with subject, 2nd voice enters with augmented subject, 3rd voice enters with even more augmented subject, etc., until the last voice is so augmented that it lasts for the rest of the piece, while the other voices dance around it. The fractality is thereby recursively ensured, by the subject permeating the entire piece through the voices, esp. the last one that spans its entirety, yet without the intractible combinatorial explosion of the number of subject entries that would otherwise be required if we had followed the formulaeic structure of recursively nesting subject entries. This also gives a less constrained structure to work with, thereby allowing more artistic freedom to mold the music into a convincing piece. (What about this idea, Mike Hewer ? ) P.S. Of course, while the last voice is sounding out the subject really really slowly, there can be other entries in the other voices, thereby the possibility of maintaining the illusion of recursive subject entries. Well Teoh it sounds promising, the subject eventually becomes a musical gravitational wave, long and difficult to detect, but still functioning musically and structurally as intended. The lengthened notes could be quite freeing for the other subjects if one is prepared to bend rules (the great Emerig wont like that of course and I can see why). In fact the wave length analogy has some traction here don't you think when you consider the electromagnetic spectrum, especially when you consider that all forces where once (supposedly) unified at the big bang until the Second Law (thermodynamics) took hold? - nothing escapes that bad boy.
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