evens Ques 2 cients bata Lonnie A-BAT CH ga Sheet (arana Sen Van H cegeeag A Rshc ie snug Eins Sp ab Ech ny pg SC eo cen Tei ad et ta ek ak a ecm ny gay cae lea ns NARESH od mk” A tin) 8 lc ch Mago 1B) wea ST GO 1 tal pte a Bawa es 1 Ee oy name my (© 18 Hwan Aca en Ct Saat re gaa Tempus ex Machina: A composer's reflections on musical time’ Gérard Grisey Die cal, et ales USA tame) ii lec re on ton ep ogre ly ix Ge ens n sith say, ay af ‘Spotl nen: realy De compe “The skeleton of time Detinton By selon of tne we mean the temporal avisions that the composer es to ogavin sounds Without Set ineditelydscoribe o best “butely seal bensth the "esh of ime", es ileasuuctue sonethe [Eer'mtae an attraction for fentath century compose, no doubt tena ini relative spicy ives us di llsion of operations ‘iceney. Tre wnt easement fortis inasrutareischeonamel tie time © the secad hythos and durations “Two approaches to ey tho: maybe denied A by seating to 9 given pul, the meter, sn the form ofa pide atesce put nt tees fla ethyl ting of Seana Sars jada te Each shpthm ie percoved ns gusktasverelasonahp formule (cn Uwe bos ot the bent) but aso in as qeasiauee ‘Staton -o mtr {onger or shore than the Best20a ey pian lames pe a ea age ing of Df fran. Each srs i perce qoaratively by i tatonsh to'preceding and successive durations Tar the Con the ryt Wel of Mastisen snd of the serait shot In aca ico pls allows the peeorm conductor to count and exe hese Cura tba tony exist ana way of working ted hat so percept rs. The sore eomiplx tho dvatons(aombutatons of fastons of te ai te smote eur Appeciion of thas only slate longer or sorter than > Question: Does indian muse acheve « ajnihess of wo ‘js the frst taking nto arent thy the macrstuctares lah he second dealing ith mythane subdhusions rapid ombinations of fang andl short notes]? ©) To rem consistent ith the se ofthe ssoad syste, it seem Srlly that our quantitative perception could extend fo theft of ‘fgyatone that pres of musi compres, but ve oa fee daraioss Sejm! to the en eo ain the proses of perce ‘Gre ean aap imagine sn ong sy in hic the meter tall woul Hactate cnstanty The moving reference point Seca e (te bjecie and eyiien is aboihed in fvor of fetution i the Fig, apenas cny peers pcan Fangs ‘Twentieth century comps tke those ofthe fourteenth and teenth enaares have apecsnie caneerably about dura. They have ‘pple to ime dhe proportions ent! to thove one inden spat hsepts prime nunbers (Olver Meniaen, the golden secon Bela Barish) ke oonaes saeo (KarhesSoektnusen) Newtonian Bnomils ean Claute Reet, aod alo stochastic procedures nets {hoary af gine anni Nena. SThnugh asefl a mths of working, seh speculations sil al far short of sour a perelved Tey fume eis we ou els ded ap ensign th hee of and “etek in pain at same teroetal avatars ofthe twendeth century. SS"Tke roton of smooth (aumeasured) ant sre (nase) fine sere iy Pen Be C17) emery the en 8 ondeator Bem of any Phenomenol swarenes ves ‘in dikresce between Boe hesld wp peacy fy ameter ace Stavitakys defiion, 195), fone prefers, dy a vrs pale mln by the coponeriuaina = abd smooth te, witha» piles if te sytoe wbichoveday Hae thee proce destroy al Reting of pevouiciy? P19, ©. icon & Co, Man, le | ie eo HEY TB el a @“Thee expen ‘GappfrUesoncestran by K Stockhausen (1949): the tempi have a poe actual importance. Who perceives thes "Eos for occ by Gages (989) The tempos only importance igs point of velerened, mesa simply fr concuctors an musicians Wit pores i? ‘Online eter had Sinan fr sx woos by Stockhausen (1968) shows ns that oly some elementary, ven pinay cyte give us the ey sen pcg te temo hen ye iherelve the pulses not expressed we el remember that only 2 few simple iiytnntemeke the pecepien ofa vsteal pulse posse, tnereas ors cago forthe sake of abiguiy and the hese ‘Rehngel pure duration, witout ageftece pot elt cane ‘eeu olny srs drain cow ote contend wh ace ig a ce apprebenion af he dsaon hes oe go En mare lative Perhaps because of thi he empl in my muse seldom have a since value. Move ot, they sore fo compressor expand 3 ‘mesial tequence, and iti thetore the ford duraion ot te Sryence which & seucturly Inprtast aad not the dal of Somnchines, however, tempi which Beume the bass of an wemeniary pena stucture the on 2 pnenomenwiogial vals ce Mp: 1 ove, Tanpusex Macon fr x percustrists O58. by Let move onto any avatar: o Te non of segradble ant nos-retrgracble eth (Olivier Meciaen, 16 Salta of sym yet and says ty Ge, outer, 71} Agaty, auch dnc, whatever Ha Ypottiona value” has to peepee vale. Te shows the level of Shop eG bidding pace wor es fod ha a wopia this pti and state vernon of time was, everable iit alte wh te ne sy: ones Sori a memory hut les presence that lows hn €© apprehend ihe rami see the moment eppeasl ‘less pthapo ovr superman were itd enabled ih to construct teeny he ‘foe, desi them as syaumetioa oF not ‘Grunts ts were once again the Business ony ofthe spect ww ren sere! We an sce cesiy that, The the distinction between smooth end steed tie sath atone oly ase a pepe ate Ime insted pumber of cases that Sve yet Yo be defined tus ease, Sly show nd spe shythmie cls ould make such a assifeston Posse "Wat a pital view of musical time = bu also what adhropocentisn theceivinchis nage ofan at teeter of ine atstene bed the Oa memory that aha econ Angers ition mene 28 ey ote of he wok whch es eng Oe igh sy tat Truly Copernican reyoiton romaine tbe fought im ease “Poet tthe eso sythunicsymeety: i fo Tong coguences of trations. te sonssion of sjmcry lr unrest tenonetholess sees {Dvn thot thee muse sll st mean of creating such 9 sensation. Since the plese of musie and th hntene ae wo ents i time, we it hale to inagine 2 oho tat wd ty th aera Thnuctues mses ey tot hi tang he menor ee rete ‘Uhvortanaey, we iar fm procesing tbe paycvensousti data fr such an opeiton, but ite not stbansable that we ight erentually With sequences of short dration,s would soem tat we are more apt to reaygice u aymmetey By groupings ater ta 2. genuine Sfivmet'y. i he way that we do aot perceive site fequencies But ROG ep te norman so des the Sak py Yo Letustikebetaoningegveee: JJ JDJ) wewmutiesopoy IT 13 Jad oa dst Mid onarot S12 3 J because once we pecsveit we wouldattach the short mote fo preceding Trosmeprstor MIDI whichwegroupaprion: JJ) JIS JT ‘pene ofthe perceptible importance of the repetition of the ist group andaot: JJ) 1d)) Repti ore ston than inversion o symone snatibeanincortuinsasesanistthe perception ofthese For example, the sequence J KY ST TT yg wonderin seem moresymncactinshein aguas SH this reflection Ihave sipped unawares nto the areas tha form top subject ofthe next secon. 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