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    MUSICAL TECHNIQUE Ex.36 dynamic, Her, the constant ui fam extended eae of valuse ‘x satitially Boa to cause lack of dieretiaon which ie particulny tolerable fn this context. The terag of ‘reences must smilanly havea stuetral utenti ex of symmetry, pivleged family of interval) ba twill theres after be appd automaticaly, ike s change of modules 5 ‘ote ora goup of nots wil bs change ato eter noes ur romp of notes ecnrding to certain lavas it may peraps be ‘pled by sence: than suppresed, he srutare forme st ‘rere, the background af thet which remain, This fteing ‘ey sony "en, suet lye ng ‘erveturs can teflly alt, making their reappearance fa 1 positive form till ore faecal ae Its hardly necosry to state that thwe reductions ofthe ziginal erie are eminently variable od mobile end that they an occupy determinant rer they have the effec of breaking Alon thei hich ns rom th cacusve ae ofp ‘structure, Limited and delciv ies male the methane At deviation considerably more supply end atthe tame ine they enlarge the eld of variation Scme important questions itnmedtelyeping to mind: how can series applied to the diferent sharscteristis afte town ‘Phenomenon be organised with eapeettocach ther? Mac tiey be oflieconsraton? Have they the sgh ob adapendent and to interact from difrent porpectivee? The questions ‘ill he asvered later, shen we touch on yt hale! Dut fest we must retar tom tady of the wor in which sil Jaw ae implemented. Ts eoncudng this thvortcalstady ofthe eis, however must stres ue very important peat: the cre ett aubitary generative clement, sng shed on deine ad important proprio n ensemble of ound. As soon stone spp, @ austcar TECHNIQUE ios is chosen in preference to another, by virt of ts mote ‘or less seletive eapaites for maical organiesion, the entity ‘efne by the ovginal serie likewise precludes the abitar nce al inferences from it are nensarly inked oa selec based on tho realise of sound. Neither will the composer Fimelf make arbitrary use of the individual series in the resultant ensemble: he makes a choice, a free election fom among those series procentig a greater or lesser number of tutstanding propertics or common telatonshie. There i a ‘confusion hetwoen the etatement (even permutated) or display ‘of acortain number of snd phenomena, snd the organisatry potential of their hierarchy. This confusion i il the bas of ‘many discussions that ate ieavane to a truly. musieal realty MUSICAL SPACE have tried to giv a falely general survey of the idea ofthe secs and to show some ofits various applications, Pethape T ‘may nov refer back to the quotation om axiomateaiethod by Louis Rouper, given ithe first chapter: ‘One tingle foram ray apply to diverse material to groupe of difering objects, ‘provided oly that these objects eapect the same relationships Amongst themselves ar those present among the undefined ‘Symbols of the theory.’ In orler to promote 2 generalced theory ofthe series it is expedient to define the ru charater= Inties of the sound world which it wll governs we ought, sccordngly, find common eriteria for the eostituents of ‘this world and their environment. We mur, afterall, extend four horizons to include new and waknown worlds at well as ‘hose to which we ae acustomed Tuthedomaiaofpitch, our definition of the eres isapplicable ‘to any tempered space, according to any temperament, and 19 auy non-tempered space, aconng to any module, whether ‘tbe the octave or some other interval. Te soem to me that fone of the most urgent objectives of presentalay saical ‘thought isthe concption and sealiaton of «relativity of the ‘various musical spaces in ue, Wester civilisation has brought es MUSICAL TRCHNTQUE polyphony to high degre of perfection; to thi end a simpli- Fication, “standardisstion” of intervals reepecting general ‘norma’ hae een imposed. However, the time has obviously come to explore variable space, space of mobile defaition ‘apableof evolving (by mation or progressive transformation) ‘Turing the cours of @ work, On the one hand thie variability ‘of musial space is anorated with the complexity and density of tho internal structure, the inteinking, distribution or sperpostion ofthe sound phenomena, which, by dispersion or aturation, prevent the perception of vtrongly dilferentistd interval. vis aociate, onthe other hand withthe general tempo governing the pace at which the stractures are ex pounded, since the eat needs ime forthe pencationofintrvala itis to appreciate them, Finally it amociated with the proportional relationships between intervals a subtle modifica tion from one quantity to another being mare pereepile, the ‘more lited the field in which it operates, (These emake tre valid forall organisations: duration, dynamics and timbres, fr well at pitch) In addition, the exploration of intervals Dave om a unitary value let 'than the teitone is clowely Aependent’ on iastromental or vocal” practce—both the technique of performers and that of instrament makers; no Interval equal to or lea than a quarterstonn, fr example, vill Depereeptbleifitis played oroung with vibrato: this wilde? theintervl, being ofansilarsize Mobile definitions of musial space tho imply theoretical antecedents which mart be more ‘rectly defined, no Tess than practical consiquence in pert Tormance; thee must be tackled, even tothe extent of modily- {ng the instruments which raleus et preset, and adopting thos ‘which are eapabl of mobility in their adaptation to the varios ‘haces of unity on which evolutionary musical space would ‘epend. ‘We have strewed the variability of space starting from ‘mobile definitions, whether tempered or not. This extremely Jmportant point mart bo examined in mare detail, beense it Tends on tho one hand tothe concept ofthe eontnstm, on the other hand to the qualitative defaition of musieal space, ‘onsidered, for the moment, only fom the point of view of % MUSICAL TECHNIQUE pitch. It seme ome of rime importance to dee ‘asta Tro all Tie te cottaly not the tasaon “ofc from tus point in ace to acter (acearve or instances). ‘The coosuan s mnie bythe polity af partoning tpace temeing to corsa avn; the dlestic Between cant ity snd dsoninby tes avlves the eoaeope of part ng wl goa tar an ay that conn thir pal for i contson both the exotnoous and the dncntauo Darton afc cnply change the ape’ of the eatacam Tie tne pation bvomen, tending towarls sn epson af recente more tl tnd tows te conta, this Eig noe only « pela ur above all psig imi. TFrequcney spre: ny umdeng to rts of partons the one, Aeined by standard meni, wil be mgelaly repeatable, {he othe, ingen, or more ecacy, detec, teen fenly and ireguleny. Temperament—the chee of Standard cartel be na loveable sin etinating om Intervals tn shore, wil ‘ri the vsracy the mia! fee: tnd wl provide ou preption—even if ef from iWhallysonciat with fel pats of rele inthe op- Dons cen where pets ean effected wil the oat low allandnuks and all sbclte cogsinence of ater {isis comparable tothe eye'inblitytoatinate dita pec enoth ef The proper of the prion Aitcrmine the micrestctal properdt of the woth ot tad space, andthe wy fs perrved in extreme ftoth and sited space fave ita continuous ine ‘ona predictable aes evalt ofthe ubigly wich nest ty to recs fom ons oie other Indeed, te dip of apay aja proporined intervals within «smooth ape alee en tone them tow sited pee kei ated space interval which re very diiaarin proportion ‘lb decked fem thts enpersient by ones ppm, the ogauing pln With there diinctimn, where 1 ee fntnt 4 the eet agement forme Gol (tram) 85 MUSICAL TECHNIQUE subtlety far from being gratuitous, is based on zeaity ‘weave come «long way rom defining the continuum solely {in its extreme inrtanocs as « continuous line or at a total, sm integration. Once the concept of partition is understood, we ean eacom= ‘pase the macrosteactural propetics of space, To take thie ‘ea still farther: can partition be produced regularly in ‘the general ambit of audible sounds? Mast the module, within Which partition is brought to Dear on the generative series, he fxed, or ean it vary? Tet ponte to eonesive of space a partly smooth, partly strated? Thee quertions must be fanered using radically new dainitone of epace. Until now, ‘efntion of a modulo has been based exclasvely om the proportion 2:1; in other words the octave fe the archetypal ‘Setnition of space, reinforced by: the principle of identity ‘which tonality perpetaated. Serial construction has adopted this archetype without speialconede ‘notion of space isto he enriched and, above all tobe rid of Ue ‘denity-byseproduction s0 unerealy nberited, then thie ‘imple doubling factor mart he considered inadequate, Ifthe ‘octave it avoided in formulated structaral elation, logic demands « means to dispore of the very principle; in other ‘words the appearance ofthe actual otave willbe easily avoided ‘within a space which 20 longer organise, ‘Thus, diferece has bees crested between straight and ccrved space. Sireight space wil be those whote unvaryng ‘module reproduces the basi requencnsoverthe whole range of ‘audible sounds: this modile can of couse be any interval ‘The octave, one particular case, willbe the imi lager intervals Deing only the preceding intervals add to it, The total ambit ‘of the frequneioe wil contain this has module @ certain ‘umber of times, dividing tint a determined numberof qual fields, Cured spaces willbe tho whith depend on a rgularly ‘or izegulaty variable module: If this module is regulary Yatiahle, the curved space vil be foclised; irregularity of ‘the modale will result in @ non-focaized eurved space. The ‘lining module in terms of which all the others re to be ‘find, wil be called the focas, When the focus ofa foelieed a austcar TecuxrUE corved space is place at any pint of the ambit, partially Symmetial spaces will ries total symmetry wil prov ‘Thon the foco pled tthe contre the stb focus lad atone of he extremitier wll give 0 wniirestioal {peor Acorved spe than eonstitated can naturally have ot or several fuss, Tegular spaces will now be those which Sivaye adopt the same temperament whatever the soda {hey wil be tregular in the opposite case. This variation of paviton con by eetabled i terns of = hele peril, Te Ve cae the frgulr pace wil be fcaie, They wil Ihenon-fosalitedin th epost eae Allth receding observa onto occ i euved space av equally applicele here ‘he various categorie —reaight, curved regular, eepuar— ‘eft raed space. Stooth space can enly be cased in ‘more general farion, thats tosny, bythe statis deeb ‘Hon of the fequences fund within I the distedbtion {nore o ese equal thonghowt the ambit the space willbe mon ‘Ezcetnd; there ll be one or tore paradefocses when ‘he irtbution, being vnequal, somes denier and more coveted st ono or ae pi Ietween smooth and stated i‘ ‘ends toe efuned with a stinted space inves, ‘elated spacsin which the statistical ditibtion of th tae od is ince tnd tobe confated ith a smooth space. [Nevertheless thedeinition canbe found nthe context, which throws nt sli or nou hs aebigy "Finally, the following tables established 1. Homogeneous spaces ‘AL Stieed spoon: 1. Defined partition, Sxed or variable (a) Fixed module: stright spaces (j) ied defined partition: regular spaces fo MUSICAL TREHNIQUE (0) Variable define ula rtton cee ated (ee ‘ Rectentiag (ST ome B. Smooth spaces: Undesined partition; no module ra eetengie sen oe TL Non-homesenceus spaces fein allt unit rete eo Ive aed maton "edie lhe ing tad proportion (aot nis nsceptble to speed ecerae sations will be the index of . a lex of sped, us tine ‘ean rary only in demity according to the vatitical asctet @ MUSICAL TECHNIQUE vents which take place during a ehronometrie global timex {pans the velationhip of this density or am amorphous tme- ‘pan vibe the indox of content. Our previous comparison will ‘Mastate thee abetract ideas, Beneath alin of reference, place ‘completly smooth surfaoe and a seated surfaces it makes to difrence whether the stiation irregular or izegular. If ‘this ideal smooth ourface ix deplaced, it wl give no indication of ether the speed or the diveton of ies displacement, since there is no. guidemark for the eye. The displacement of elated curface will on the contrary be immediately notin- Able, both in its speed and its dizetion. Amorphous time is ‘comparable to the smooth surface, pulsated time to the Stiated surface; by analogy, T vil cll these two categories ‘tooth ime and striated tee. ‘four observations on pitch ae tobe applied to smooth nd steited tne, few semana oa the prntealimpllations of ‘there concepts will rst be neoseery. Ts it possiblo to realise ‘moth and striated space, and ifs, haw? The problem seme ‘Simple in principle, Ie would be solved by the constrction of ramente whose tomperament could be precisely varied ‘ccoring to prepared and ordered combinations procedare Compare to the preparetion of registrations on the moder rgan, These instruments, by no means unimaginable or ‘sovaisable shold be constructed from materials which are hot sensitive to atmorphere waiations of humidity, temper trace, ete in other words, they should stay abrlately “in tne’ Could “natural inrtraments ever Gull the condition? in most cases thin is very doubtful, and considering, the Aiiuly of taning certain instruments with sulilent accuracy {to the tampered semitone one eatinet old ovt great hopes for ‘inilar instruments in the realm of finer diferentiations this js even more obvious fone imagines an ensemble of euch instruments, Newshomogencour spacer may well ccur—thit ems more than ikely!—but sey ail beanything ut contol le, Ought specialised instruments toe wed for certain types of realization? The organ constructed by Profesor Fokker! STS Sree ces oats ee 9 MUSICAL TECHNIQUE coring to Hayghene temperament ofthe Sth of tone Pints the way one ca agin the eet ofan ergan whore ‘ops wileamespond not oparicalartinbres, bot dierent Aletniins of musa space. The keyboerdor any means fof materilising the sound—-would be the tablature giving ‘arid interpretations of «singe symbol However, deetron aioe Rian teat mot independ of ste phere conditions, and this dition wil have to ln explored farther fear to fnd an instrument to orerpond to thst ‘hori views on musical spe, By menus of a sereaia umber of operation, would corey be posse fo obtain nearly everything which i sudile-and oven, msee-~by Partitioning the cantinoum in some way Having computer, {ls to memorise, ecord and wee ail the pssle conan’ tions the Heal Snetroment would-be vemarkably seul ‘Wo can imagine its theoretical realeation, but in pret, inrument-mabing ia beret by considerable force of inetay hich mart be deat with fone snot tobe conned to wring Insc for the aechives. Th very peat taco of instrament [ike the ylophons, tabular ely ete arcs largely from ‘his nostalgia or relative pos, whichis cmpreally reali by ‘means of struments femplce spectra cvulving cxemively sccordng to dynamer and tetra the ae of sand ejects ‘htaned fom strongly contrasting instroment, with yates ‘iene mee of a, evi iden ire to go beyond tempered space; making se of the ‘tualites which most vslnty soutssdiet fi principle: the Satur sharactersties ofthe inetrumont ae lealy opposed to any theoretialy imposed division. This empire search is extremely frit, heeaset meme that de attention mat Ie given to the gnerative pote of the anscl material Bat we should stl aim fo the racial realisation of iatas rent we consider ndispensis to muael evolution. TET have eressed the realist of new mute! rpaces by ‘en ann pg eden An Fle i eas eel a Ty has ‘at Haarlem in 1950. (Trans) = 0 MUSICAL TECHNIQUE instruments, electronic oF not, is benuse i scoms extremely important not to abandon ‘the realm of musi” to mechanical ‘lectro-acoustic mois aloe. The latter, as already explained, Will certainly he able, before long, to vorolve many problems; ‘hey will however, remain n los sgi piconars ofa fixed and ‘efntive reaiation. Allin all che fatare in this eld doesnot ‘rally sem to depend on magnetic tape and the recording tn it of sound phenomena created by spesalived equipment ‘ut~as two raistions in Monich and New York have shown wet more aecarate view of things lads 9 4 coifation which ‘wer eyes of perforated ead or sibbons. The creation of an Clectrnic sound world door not seem neocssarly to eatall Srtsun sucthods, whorear astomation Se ideally suited to this line of research, However thi may be, instraments using ‘tablature and pute electro-seourtie procedures wil provide SUI these murieel spaces, which seem of prime importance, both at the preeat tne and for the future. "The problem of duration is ofthe same onder; apazt um a fundamental difeeuce between the to clement pitch and the ealy non-tempered or nonchomogencou be easly realised re due to chance alone, and are completly ‘uncontrollable; theveaecidets of material or of performance ‘annot posibly be reskoned with. On the other hand, with ‘duration; there are to ways of obtaining values in which the time proportion will be reBined i relation to existing con- ‘cepts! if eetainsul-divisions cm only be realised by the inter- ‘Yention ofleetro-meehanical procedures otherscan bebrought bout by the intorpreter and by the eoneept of tempo. In the fiw cate exact, determinate realt wil be obtained in the fecond, the results acer within a waisle ld. Before develop> ing this pint, we mor extend the camparcon between smooth ‘nd strated time and space ‘Palation ie for strated time what temperament is for striated paces it has been shown tha, depending on whether partition fsed or variable, defined space will be regular oF [regular silty that the pulstion of striated time willbe regular or iregulan, but eprtomatic. This pulsation is not o austcan tecunrouE slither xscution in conception expt wha ic observes relatively simple proportions; onr snd of duration fern thawed that the tcnation or supepiion of ertin Proportions would he anrealnable in practi, for example Siti, sien ans ae nee wth Filencos. ifthe alterations of proportions are amples, prea tal iantancourtat sy, dentine at ‘ariatons in. plea ao stir, onlyeleetro-mcanicel ‘beans wl beable to rane them with salient searcy. Take an sap upon Lb oath ine alo ‘a yale ang por of gurl ot (and at order {he mull of the uni aes uoallythe ar) de states ‘elated on ales of sbivson tht eto cay, tone which donot follow each ater in an Snreasig or derensing rder, they canna be exeated manually but only withthe help of Imechanigl control The only sequences wich cas be prea ‘ately interpreted are thos ofa Incresng we dace rer. This nvaver subterfuge which costa in otating cul vale, bot vying the tempos i ther wordy, Tide {ho asesment of the aloe ints two operations Tchoos = ingle proportion in ration to the polation, and I ler the {athe pres dzeetion intended. Idliboretely chor the simple ‘example ofthe logarithm scale, because‘ every similar ton ‘equal pulsation that ie alloc hy « constant elementary ‘eatin ps alan or tnd om tn etc Intern pulsation and pac, one ean fet regain allthe poses of proportions wick werlefttothemachin, Te swan, fat to concive of rogue and ieglaly rbividedpolstions as long they are relly that to say, donot exeond acertin comply of proportions and at divs, seal indented as being acted pon by ll she posible envelopes of tompor straight lines, broken ines, fred lines (in constant, iegular or ftastngeveltion), ‘As toon ata chronometrc vale eavsaged idinensonally ‘or bifanctioally 1 high depres of diferentaton ie ebained, though account must alwys be talon of the margin of 2 MUSICAL TECUNTOUE precision of the general natu of the fed in which this ‘difeentiaton exists Thus, there no fundamental difrence Detwoen mechanical and basen means of realising duration, a there iin the reaiaton of msieal spaces, bat x diflerence ‘of degree in the precision aad discontinuity of the operation. Tm fact, the logrthae cele fs mechanically tranteribed in all its permutations, it mast, for realisation to be humanly Double, be insribed in an enveloping curve, Compared with Trechancally posslble difereatiations of duration, those avail thleto the performer tei thelart analysis, imitedby directed avclopeesin any ce, what lst in precision i gained in sup roof articulation an appreciable advantagein many eae. ‘With th help of these detailed particulars onthe dialectics ‘ofrelaive tempo proportions we ean proceed withthe asia ‘on of time, Straight time, carresponding to straight space, will whatever the partition, observe a constant module; ‘vhee words, the original values beng comprised between two Tims, the derived’ values will be eompezed between the multiples of the relationship defined by these two limits, ured sine, on the contrary, will nuse the derived values to Alepeed upon function ofthe rlatonthip defined by thesetwo ist (all the vals will for example Be augmented or dim ished ecording to the direction of the time-rester which followed) Whateverthesuodul,reularsimevilethatin which [petition emis fixed regular, whore patton varies (acord- [ig to defined namereal proportion ort the tempo) Smooth time will have neither partition nor mole: i the same way se ith pitch, statiseal distribution will give such time Gircetion or now-direstion, Ax before, curved or iregulae ‘telated time will be either foaled or aon-focaised, one oF tore focuses ordesing the paral or total symmetries, Similarly ‘re shall have homogineous time, whether exclusively mooth Ur meted; and monchomogencous time, where strated and ‘aoth time wil altemate or be superposed. Agnin, as with pitch, the ambiguity between smooth and strated becomes Peident in the disposition sf dations, which ae sceptible oto interpretations, Whather it belngs to one othe other tf these categorie time is, according to the distribution of 8 MUSICAL TECHNIQUE oration, either directional or non-directional; but static

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