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This is a fascinating thread. Question - as you implied SSC, couldn't you develop the form from another aspect other than pitch. For example, Brian Eno, inspired by Reich's phase music from the 60's and early 70's, treated a recording of Pachabel's canon so that tessitura determined the ritard of the note values. So the bass would have the slowest retard, while the soprano the fastest retard. Eno
did this 1975 analog on his album Discreet Music.
PS. Another thought, and pardon if it isn't clear, hasn't Boulez found ways to write larger forms through serialization of all parameters and/or use of chance operations?
If you can point to composers who have done so, would love to know.
PS. I am assuming you do the above while following the 12 tone system or "avoid" a tonal center.
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