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a question answered

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  • Ben Opie
    I ve posted the proceeding on the MySpace page (myspace/braxtonplayspittsburghplaysbraxton) blog, but I thought I d send it on here to. The following is a
    Message 1 of 1 , Jul 3, 2008
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      I've posted the proceeding on the MySpace page
      (myspace/braxtonplayspittsburghplaysbraxton) blog, but I thought I'd
      send it on here to. The following is a transcription of a question and
      answer between Kaylee Weisensee, a freshman violinist, and Anthony,
      during our student workshop. Composition 256 is a GTM with very
      Braxtonian lyrics over the melodic line: numbers, letters, words, syllables.

      Generally, I've been trying to write recollections of the week in the
      blog, but I'll admit I'm starting to run dry. If anyone reading has
      opinions, reviews, whatever, about any of the Pittsburgh/Braxton
      concerts, please send them to me so I can post them.



      Question: I have a question. In 256, where did you get all, like, you
      didn’t use lyrics really but, like, words…like, where’d you get all the
      words that you used in this one?

      AB: The words, where did I get the words for the composition? [Anthony
      is shown the score] Yes, okay, this is composition 256. Composition 256
      is one composition in a set of twelve that was conceived as part of the
      syntax Ghost Trance Musics structures. In a imaginary universe, or the
      imaginary universe that this music is constructed for, the Ghost Trance
      Musics has a cartographic component in the sense that um…in the music
      system, the orchestra pieces represent cities, the chamber orchestra
      pieces represent small towns, territories, counties, and this kind of
      thing. The Ghost Trance Musics represent the highway system, or the
      connecting system, depending upon which areas [of] the schema we’re
      dealing with. For the syntactical Ghost Trance Music compositions, I
      have tried to create a vocal syntax. Originally the idea for Ghost
      Trance Musics came from taking classes in the music of the Native
      American Indians, and their Ghost Dance Musics. I found, for myself,
      that “existential interesting” was not necessarily what I was interested
      in, and that I was looking that had spiritual implications, that I was
      looking for something that would be past numbers. And so, going back to
      your question, the syntactical Ghost Trance compositions: each syntax is
      a particular vocal model, sound model. The syntax contains a number set,
      a information…sound set information, a symbolic set, ritual sonic
      information, put together in a schema where it could be used to direct
      traffic, it could be used to, in the sense of magic sound combinations
      that could open combination strategies, for our….for the example of the
      music, a combination logic would be a syntax that opens a door to move
      towards a particular area of the music system. And so, syntactical Ghost
      Trance Musics, as in composition 256, demonstrates, rather than song
      form, “I love Johnny/I love Mary/We’re gonna live happily ever after.”
      Rather than, that kind of narrative logic, the Ghost Trance logics
      instead, are directed towards number theory, magic word theory, sound
      combination logic theory, position to make things happen in the space,
      where, in the mystical sense of the friendly experience of being in a
      state of clouds, suddenly, the friendly experience you hear a sound,
      and, you start to move towards sound and pick up the telemetry of the
      encoding information. And so the syntax structures are encoded vocal
      information, which is why it has number theory, number theory for
      trajectories, alphabet theory for territorial spaces, and invented
      words, for transpositional experiences. Transposition, moving out of one
      composition, into another composition; moving through three compositions
      to a different cartographic area of the music. And so everything has a,
      aesthetic function, it has a, execution function, in terms of structure
      space, and finally a transpositional function into the ritual and
      ceremonial plateaus of the music system. Next question.
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