Notes from meeting with Braxton, November 20

I had my second meeting with Anthony Braxton yesterday, and I showed him Incarnadine as well as the Durrell cycle.  He said all of the following (in somewhat less fragmentary form) about these pieces, as well as about his recollection of my solo performance a few weeks ago, basically getting my entire musical philosophy and goals from the get-go:

change state

amorphous, in a good way

clear conceptual sonic geometry

beautiful, on top of everything else, very sensitive writing

trans-idiomatic obliqueness: modern, a strange familiarity

event spaces “musical as hell”, sensitive

what looks idiomatic, what looks harmonic is not what it seems

summation logics

what you’re hearing is not what the music is

obliqueness as concept space: at first idiomatic, but soundposts are not there

continuum/sonic void

short movements, nothing going on too long to guess primary elements = oblique universe

secondary elements: idiomatic inputs = “tease”, like lights in a long tunnel

conceptual continuity reimposes “what is this?”, rhythmic logics do this too

confuses someone looking at it in a rationalistic way

“Your rigour is not even rigour, because it doesn’t do anything; it gives you one thing, but it’s not that thing.”

psychology that says sonic event in forward space, but interrelationships composed in a way that avoid easy solidification into one identity state

consistencies that don’t produce forward moment

universe with elements, but it’s about hidden elements in the void

obliqueness: known elements recognized; hidden elements also present but not developing, put in void supporting qualities

oblique conceptual and structural unity

continuities/disturbances: idiomatic markers, but not idiomatic

continuum has light of idiomatic elements placed in it (element markers)

oblique logic modelling: “disguise”

scatter logic for rhythm: bouquet (origin rhythm specific elements), logic of disturbances

development of adoptive oblique techniques and materials

oblique palette, oblique logic, oblique layout

geometric vs. non geometric consistencies

abruption, discontinuity, imbalances

image logic obliqueness: “Everyone is wearing a red suit, but the stage lights are red.”

combination logic

oblique agency: distance and trajectory

a different kind of non-obvious continuity, it feeds on itself, establishes activity, then disguises with secondary elements/sequential oblique inputs

aesthetically oblique produces question “what’s going on?”

uncertainty, secrets, distrustful of dogma, poetic obliqueness, Edgar Allen Poe

extraction: “obliquenize”

inherent meaning of origin materials to be transformed. oblique transformations: multiple in same moment

variations of scatter: multiple event eruption

trans-idiomatic, trans-material, not limited to any one state

oblique instance

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