Phase music.
Phase or synchronized or sync.
A type of composition that floats lines into relief, or a wall of sound, by subtle changes in rhythm.
A composition where:
1. Music or sounds that starts in a rhythmic and/or pitch unison with several parts, at least two,which then goes out of phase or sync. This kind of composition has been around for a long time as the mensural cannon.This is where a cannon is based on augmenting or the diminution of the line creating contrast.
2. Music or sounds that use looping and/or repetition or ostinato that goes in and out of sync. (if it stay in sync, it’s pop music).
3. Music that features a constant duration, a motor rhythm, say an eighth note. Accents are then constantly changed by outlining different patterns of arpeggios. Using an arpeggiator, or sequencer or live folks or combined.
4. Music Where discrete rhythms and durations are used to delineate music lines. Or to make those lines indistinct (wall of sound). (This happens quite frequently in classical music as well as in concerto’s solo sonatas etc).
5. Can include improvisation. Gesture composition.
6. Any and all combination of the above.
This techniques might describe works by Elliot Carter (4), Brian Ferneyhough (1), or Captain Beefheart (2-always out of phase),or Carl Orff (1, 2,3 and 4) or Terry Riley (1,2, and 5) but is most associated with the motion composers. (2) Phase could also be used to describe some of the properties of native musics, including Native American music. (The lesson on Exotica and Authentisity is coming.)
Besides these connections the motion composers are quite distinct from the gesture composers in their use of phase.
Their particular methods are these:
Prefer consonance to dissonance, excepting rhythmic dissonance. (This is usually the only place where contrasts are maximized).
Prefer harmony to melody.
Prefer minor to major.
Prefer motion to stasis. Constant music no rests.
Constant tutti, wall of sound. some sectional contrasts.
Prefer an electronic music approach to acoustic instruments. including the human voice.
Prefers a choir voice to an opera voice.
Prefer neutral over expression.
Prefer multimedia and concept works to pure instrumental works (though their instrumental works are the most fascinating).
The music is not always the primary consideration in these concept works.
Avoid Arch forms, or sense of arrival.
Prefer simple harmony based on popular music.
Avoid tonal harmony and its implication.
Avoid voice leading and harmonic motion.
Prefer heterophony.
Music can be difficult and is created for experts.
Strictly notated, no improvisation.
Hey, why do you call them Motion Composers?
Though most folks call these composers minimalists, this is a term borrowed from contemporary art. Though it is true that these composers are closely aligned to the art world (see my lesson onmusicus simplisticus). I prefer a term that relates to the main feature of their music–motion.
These folks are perhaps the most financially successful composers of our generation. There methods are worth study.
We also see that these techniques are not so unique or particular.
Also they can make great music.