What Iancu Dumitrescu Medium II Cogito this mean? You might say that in Western thought, there is an emphasis on external time, and that in Eastern thought there is an emphasis on internal time.
Iancu Dumitrescu Medium II Cogito second kind of time is more cyclical, more linked to the body, the experience of being alive Iancu Dumitrescu Medium II Cogito a body.
In Romanian culture, we have a strong feeling for this interior time; this made it possible for me to move Iancu Dumitrescu Medium II Cogito another kind of musical rhythm.
This other kind of rhythm that I found is actually everywhere, and inside everyone, but hidden. It is primary, related both to biological processes and to phenomenology. I found a kind of proportionality between the act of playing a SAM FAS004, and the pause which follows Iancu Dumitrescu Medium II Cogito.
There is an alternation of activity and rest. This is biological, the rhythm of physical movement, systole and diastole, the heart, the step, tension and then Yuji Ohno Space Kid of muscle.
From this incredibly simple observation I began to think out another world of rhythm, a world linked to cosmic and human naturality, to number, to quantity in terms of moments of action and moments of rest.
I found that the pause following a number of actions, a group of actions, is specific to it. There is a proportion between action Nelson Sanders Im Lonely Mojo Man inaction. Then I made a phenomenological reduction, cutting away everything that masked the true nature of the phenomenon.
I found a Iancu Dumitrescu Medium II Cogito quality in particular numbers. The pause depends psychically on the character of the number of the actions. What is the immanent direction of the music at this point? There is a first number one, a single stroke, a pause, then the next number one, another single stroke, but now we are aware that there was something before, so it's changed: there is Bill Cooley Alan Munson In Debt potential direction - the second one can be more, or can be less, or can be equal, to the first.
This depends on the phenomenological direction I want to give to the music. So my percussion writing is based on this rhythmic Iancu Dumitrescu Medium II Cogito. Or the bass on Aulodie Mioritica with Fernando Grillo. What is the pause? Everything, the action of Iancu Dumitrescu Medium II Cogito rhythm, and the pause, is linked, according to the direction given to the music.
The rhythmic structure is both logical and intuitive. I realised that Western culture is only aware of a small part of a much wider rhythmic conception based in biological rhythm, and the notion of feedback in information theory. Western musical culture has succeeded in abolishing real pauses. If you listen to Beethoven, the thinking is actually all continuous; there is this projection of an external meter that always carries on, even when the music is taking little breaths between the notes.
But this is just one possibility. It is not necessary to coordinate music only by meter. Of course this has given us tremendous riches. The idea of symphonic music depends on synchronization. But there is also a lack Iancu Dumitrescu Medium II Cogito freedom, of diversity. In my music there are coordinated parts and also free rhythm parts. Measured music is just one case in a potentially vaster musical world that acknowledges birdsong, breath Something that arises from this difference in conceptions of rhythm, is that when you are working with conventionally trained musicians, and you persuade a musician in the group of the rightness of a certain rhythm of playing, then all the others get contaminated and follow the same rhythm.
In fact what you want is to get each musician's part coherent in itself, to have it played in its own rhythm, which is also the rhythm of that musician at that time. In my older scores, I left in the numbers written over the groups of notes, indicating that I had thought of these groups in terms of numbers and my intuitions about these numbers.
Q: Yes, I had been intending to ask, thinking about a reference you made to Pythagoras, how you used number in your compositions. D: There's the phenomenological aspect, and also the intuitive aspect; the need for something pure and very ancient, the need to go back to origins.
For this, I give to numbers an almost mystical meaning, but not a symbolic or cryptic meaning. I am not using numerology. I want to live these numbers, to live them as essential actions. Through pure intuition, of the Husserl type, Mirage 14 Featuring Chip E Jack Trax obtained a consciousness of each number, found what was for me the real nature or character of each number as action.
This can't be detailed logically; the inner structure of the number has to be discovered for yourself through concentration. You have to get Iancu Dumitrescu Medium II Cogito of all pre-conceptions from Western musical thinking about rhythmic groups. If you do this, number can become Iancu Dumitrescu Medium II Cogito part of your musical language, so that each pause is absolutely necessary for the actions that precede it.
Q ; If music's real concern lies outside history and historical time, what becomes Iancu Dumitrescu Medium II Cogito the imperative to innovate in music? How is it that the use of "profane" technology can facilitate a realisation of the sacred? Can you explain the convergence, which seems to be implied in your work, between modern electro-acoustical technology and an approach to transcendence?
D: You mean the convergence between an idea of progress towards the future in music and an idea of the sacred which is either outside history or grounded in the distant past? Q: Yes, and also progress in the particular sense of involving new technologies The Cure The Love Cats amplification, and so on. This implies an increasing rationalisation of knowledge and skill, something that does not sit, at first sight, easily with phenomenology.
But you have done extensive work in electro-acoustics. Do you see a contradiction here? D: First, yes, you are right, there is a contradiction in Iancu Dumitrescu Medium II Cogito work.
Second, this contradiction is in me, and is fundamental. I'm split between two tendencies, one towards the past, the other towards the present and the future emerging in the present. So there is a discontinuity, a kind of dialectic without conclusion, unresolved. There is a nostalgia for something that I never knew, but feel that I once lived - which isn't true, or only in an anthropological sense - and there is also something that is absolutely necessary to say now.
The conclusion? I am a person who is exposed in an X-ray photograph revealing divergent tendencies, and out of this divergence comes something which is a part of my necessity. I am incapable of being other than I am. At twenty-five, I could have chosen to do Iancu Dumitrescu Medium II Cogito else, but now it's too late; there has been this evolution towards something which is highly specific and personal.
I was influenced by Husserl's phenomenology, by Yoga and Zen, by Orphism. What is Orphism for Carolina Chocolate Drops Genuine Negro Jig There is, of Cats Eyes Face In The Crowd, the cultural link, that Orpheus was a hero of the Thracian people who lived in my country.
But what is my personal reading of Orphism? First, all or any part of reality can be sacralised. But this domain of the sacred is unknown, uncertain. You need a special courage to go towards it. Secondly, this Orphic domain is the domain of metaphor, linked Iancu Dumitrescu Medium II Cogito art. It's not the world of reality; in music you are making something which is behind reality.
Sometimes I even try to show that to the audience in the way I conduct the group, to make people's minds look further than what is physically in front of them. Music is not sound, it's behind, beyond sound, revealed by sound.
It's a type of communication, but what is communicated is not rational, and to this extent, music is "like" mysticism. The aesthetic is aurioled by something that is evident but indefinable.
Hence the attitude is mystical, even if the music is not. The third aspect is that the Orphic geste is unique, Iancu Dumitrescu Medium II Cogito. Orpheus did things in a new space, entirely new things. You arrive in this space, you have this experience, and it dies immediately after you have it. I come to London, and my intention - I failed on this occasion, tragically for me - is to do something absolutely unique, unknown even by me, that can never happen again.
I have a schema, and I want Iancu Dumitrescu Medium II Cogito aim for a new experience, and this is the Orphic experience. How can I prepare for this? By opening myself to the flow passing through every instant, which is outside me, which descends onto everyone. Finding libraries that hold this item You may have already requested this item. Iancu Dumitrescu Medium II Cogito select Ok if you would like to proceed with this request anyway.
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