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Flux of Excitation in terms of three sources, in Morris’s Arc

Figure 7 Flux of Excitation in terms of three sources, in Morris’s Arc

Related Figures (18)

register: T,P order positions <3456> EXAMPLE 4: MORRIS’S ARC (1988) MM. 19-22, ANNOTATED TO SHOW REGISTRALLY PROJECTED ROW SEGMENTS
register: T,P order positions <3456> EXAMPLE 4: MORRIS’S ARC (1988) MM. 19-22, ANNOTATED TO SHOW REGISTRALLY PROJECTED ROW SEGMENTS
Flux of Rhythmic Excitement in Morris’s Arc
Flux of Rhythmic Excitement in Morris’s Arc
Flux of timbral-textural Variety in terms of five sources, in Morris’s Arc
Flux of timbral-textural Variety in terms of five sources, in Morris’s Arc
Flux of timbral-textural Variety in Morris’s Arc
Flux of timbral-textural Variety in Morris’s Arc
Flux of Cohesional Focus in terms of two sources, in Morris’s Arc Flux of Cohesional Focus in Morris’s Arc
Flux of Cohesional Focus in terms of two sources, in Morris’s Arc Flux of Cohesional Focus in Morris’s Arc
Direct row presentations in mm. 21-25
Direct row presentations in mm. 21-25
analysis might trace. For instance: Pitches of the highest register carry a strand that continues from m. 23, over and above the frenzy of mm. 24-25 and the sustained middle C of mm. 25-26, into mm. 27-28 (Example 5). I already noted that a projection of RT,IP follows from the highest pitches < B5, Eb5, Db6, D6, Bb5> down into the range below middle C. It also, however, continues even higher in mm. 27- 28 to the topmost pitches violin 1 plays: <D7, Bb6, F6, A6> followed by the viola’s E7 at t string harmonics in m. he end of m. 28, a pitch class echoed in open 30 (violin 2), m. 32 and m. 38 (violin 1). Thus the threads sewn into mm. 1—25 continue into the remainder of Arc.
analysis might trace. For instance: Pitches of the highest register carry a strand that continues from m. 23, over and above the frenzy of mm. 24-25 and the sustained middle C of mm. 25-26, into mm. 27-28 (Example 5). I already noted that a projection of RT,IP follows from the highest pitches < B5, Eb5, Db6, D6, Bb5> down into the range below middle C. It also, however, continues even higher in mm. 27- 28 to the topmost pitches violin 1 plays: <D7, Bb6, F6, A6> followed by the viola’s E7 at t string harmonics in m. he end of m. 28, a pitch class echoed in open 30 (violin 2), m. 32 and m. 38 (violin 1). Thus the threads sewn into mm. 1—25 continue into the remainder of Arc.
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Composition StudiesMathematicsApplied MathematicsSet TheoryMusicChamber MusicMusicologyComposition and RhetoricDynamical SystemsModels of Creativity & of Creative Processes
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