Yes it is possible. Just mix a generous dose of Schaeffer's _Traité des objets musicaux_ with a pinch of Xenakis' _Formalized Music_ and Roads' _Microsound_ and you have everything you need.<br><br><div>//p<br>
<a href="http://www.interdisciplina.org/00.0" target="_blank">http://www.interdisciplina.org/00.0</a></div><div><br><div class="gmail_quote">On Wed, Sep 16, 2009 at 6:48 PM, David Powers <span dir="ltr"><<a href="mailto:cyborgk@gmail.com">cyborgk@gmail.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">All I'm basically aiming at is whether it is possible to talk about<br>
diverse musical structures from different traditions using some more<br>
comprehensive language than the language of traditional musical<br>
theories which tend to only describe the set of musical practices of a<br>
single culture or subculture.<br>
<font color="#888888"><br>
~David<br>
</font><div><div></div><div class="h5"><br>
On Wed, Sep 16, 2009 at 5:25 PM, Paulo Mouat <<a href="mailto:paulo.mouat@gmail.com">paulo.mouat@gmail.com</a>> wrote:<br>
> How would this qualify as a _meta_-theory?<br>
> //p<br>
> <a href="http://www.interdisciplina.org/00.0" target="_blank">http://www.interdisciplina.org/00.0</a><br>
><br>
> On Wed, Sep 16, 2009 at 5:38 PM, David Powers <<a href="mailto:cyborgk@gmail.com">cyborgk@gmail.com</a>> wrote:<br>
>><br>
>> More thoughts on musical structure--if I was to create a meta-theory<br>
>> of music, I would include the following elements:<br>
>><br>
>> *cell: any single sonic idea that is used as the basis of a work (such<br>
>> as a melody, harmony, rhythm, digital sample)<br>
>> *permutation: repetition with difference of a cell<br>
>> *transition: a gradual shift from one musical element to another<br>
>> *rhythm: linear, cyclic, or aperiodic distribution of events in time<br>
>> *tone: cyclic vibration with frequency, duration, timbre, amplitude<br>
>> *harmony: simultaneous tones<br>
>> *melody: sequence of tones<br>
>> *noise: a-periodic vibration with duration, timbre, and amplitude<br>
>> *texture: the overall consistency of a stable sound-object<br>
>> *plateau: consistent, repetitive sound structure<br>
>> *constraint: a set of (mathematical) rules that govern a musical<br>
>> structure, such as a Raga, a chord progression, serial procedure, or<br>
>> aleatoric procedure<br>
>> *slope: a gradual transition from one plateau to another<br>
>> *event: sound-object that is perceived as being unique and whose<br>
>> arrival cannot be predicted by the listener<br>
>> *signifier: sound-object that seems to refer to some signified which<br>
>> may or may not be musical<br>
>><br>
>> ~David Powers<br>
>><br>
>> On Wed, Sep 16, 2009 at 12:31 PM, flemming lyst <<a href="mailto:flemminglyst@gmail.com">flemminglyst@gmail.com</a>><br>
>> wrote:<br>
>> > i just use one sync point and let it flow...<br>
>> ><br>
>> ><br>
>> > cheers,<br>
>> > eske<br>
>> ><br>
>> > <a href="http://www.youtube.com/watch?v=cA4rW8UHyJc" target="_blank">http://www.youtube.com/watch?v=cA4rW8UHyJc</a><br>
>> ><br>
>> ><br>
>> ><br>
>> > On Tue, Sep 15, 2009 at 8:12 AM, Kim Cascone <<a href="mailto:kim@anechoicmedia.com">kim@anechoicmedia.com</a>><br>
>> > wrote:<br>
>> >><br>
>> >> I'm gathering some info for a lecture I'm giving about structure in<br>
>> >> laptop<br>
>> >> music (read: electro-acoustic, noise, microsound, etc).<br>
>> >><br>
>> >> What sorts of structure do people use in creating their work?<br>
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>> ><br>
>> ><br>
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><br>
><br>
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</div></div></blockquote></div><br></div>