I suppose that the scope and implications of such forces have rendered my personal accounting ritual pretty much obsolete. That's how things sometimes go.
From Brian Ferneyhough
Other composers have taken this particular technique much further than I in the meantime, with the result that the Law of Diminishing Returns has begun to apply.
Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.
Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply.
In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent.
If nothing is at risk, nothing is established.
With respect to the respective French and German traditions you are no doubt correct, although I am reluctant to see individual achievement reduced to archetypes.
I'm perplexed, though, by your application of the term 'negative' to my figural imagery.
I don't see 'lines of force' as being destructive, except to the extent that they are exclusively traceable through observance of the path of distorted material left in their wake.
Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.
4 perspectives
3 perspectives
2 perspectives
1 perspectives