Subject:
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Re: New space building standard and submission to www.classic-space.com
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Newsgroups:
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lugnet.space
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Date:
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Thu, 1 Aug 2002 16:41:27 GMT
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Viewed:
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1726 times
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Jeff,
Wow! You certainly have done your homework. And Schenkerguide is a
pretty decent place to start :)
I'm glad you understand Schenker a bit now and the way in which I see it
relates to Damien's Lego Calc. Schenker is mostly used for analysis and not
composition. But the ideas of Schenker can be in ones head while composing.
A common "thrill" of Schenkerian analysis is that while you're doing a
deconstructive analysis of a piece, you actually get to "feel" the
constructive process of composition. This really has to be done to be felt.
(also, quick note, Schenkerian analysis isn't for everyone...even many music
theorists don't like it/totally agree with it because it reduces music to
contrapuntal lines...those aligned against schenker balk at this and those
who are ok with schenker understands his reasoning...)
If you would like an even closer analogy, take a look at the basic of
harmonic analysis (more homework ;) ). Harmonic analysis is also
deconstructive in some ways but once you've gotten good at it (or read a
textbook), you find certain progressions that are pleasing and that always
work. Composers don't always stay in these patterns locally and the best
compositons are the ones which dance around established progression but from
a broader point (say, a whole piece), it gives a composition direction,
shape, and unity. This is in my mind much closer to Damien's intent of how
his theory can be used. 1) Analyze existing lego masterpieces and possibly
derive some general holistic rules about what makes a good creation but even
more so 2) to use this knowledge and background to be able to more easily
create even better and more original models.
Sonic
"Jeff Jardine" <jwjardin@diespam.mccain.ca> wrote in message
news:H0655F.8Bx@lugnet.com...
> In lugnet.space, Luke Ma writes:
>
> > Tempo, notes, key signatures...that is not really music theory...it • is
> > only part of it. Those qualifications are analogous to the color of a
> > brick, how it is attached, the length of a brick, etc. And you're right.
> > They are only descriptive. What Damien has done is more like harmonic or
> > Schenkerian analysis. He has set up a formal/abstract framework with • which
> > to understand creativity (like harmonic/schenkerian analysis...or
> > pitch-class set since it's somewhat mathematical).
>
>
> I've done some homework:
> http://www.schenkerguide.com
>
> It was very helpful - although this example was used strictly as an • analogy,
> I think I have a much better grasp on what Damien's concepts. His
> constructors (pair, bridge, balance etc) are somewhat analogous to musical
> constructs like the arpeggio or linear progression.
>
> The constructors provide a framework with which a Schenkerian-like • analysis
> is possible. From the Schenker Guide website: a Schenkerian analysis
> "explains how music is made up of a series of common melodic elements," • and
> "shows how tonal music can be said to be 'in a key.'" So, a similar
> analysis on a classic space model might explain just what makes it look • like
> 'classic space.'
>
> Although reading about SA has helped me understand it, I don't think it • was
> Damien's intent that his Calculus be used in this manner. SA is clearly a
> deconstructive process (it requires at least a partially completed piece • of
> music to be analysed) and Damien has repeatedly said that his Calculus is
> intended for design alone. Or, is some analysis of completed classic • space
> models necessary, so the 'common melodic elements' (perhaps a blue slope
> symmetrically mounted on a pair of grey wings) can be defined?
>
> Is the ability to perform a Schenkerian-like analysis merely a • side-effect?
> Grammar can be used to construct text, but can also be used to analyse • text.
>
> Jeff J
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