C-246.11 Differentiation and music
It tells us something that music accords so well with our steps and feelings. It should tell us something about our steps and feelings too. Music is a huge success differentially. Our steps and feelings are not.
Music takes a continuous “horizontal” tone and slices it into notes. It takes a continuous “vertical” tone and slices it too into notes. And then it Grasps those notes and splices them, composing rhythms and melodies. And our steps and feelings follow … following the product -- but steps and feelings lacking technology to match that of music’s proceedures.* But there is dance … and step choreography, as the waltz is to 2/3 time.
Ballet relates choreographed steps to music Typically. Often patterning the steps to the music. But in Twyla Tharp’s first years as choreographer she created steps without music. Differentiated moves and postures, patterned steps, then forcefully calling on her dancers and associates to extend themselves … embodying the Expansion in principle and the S-universe in realization**
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*For all that poetic verse has tried to make the effort with B-speak. And as, for example, with “songs,” alloying words and music.
** And, in her words about her work, “back and forth between the head and the heart,” which should evoke for us the possibility of CEM performance. If we can come to be able to compose our individual and community selves.
In light of the very useful Search feature now available, parenthetical back references are suspended for Comments as of C-184.
(c) 2021 R. F. Carter
Music takes a continuous “horizontal” tone and slices it into notes. It takes a continuous “vertical” tone and slices it too into notes. And then it Grasps those notes and splices them, composing rhythms and melodies. And our steps and feelings follow … following the product -- but steps and feelings lacking technology to match that of music’s proceedures.* But there is dance … and step choreography, as the waltz is to 2/3 time.
Ballet relates choreographed steps to music Typically. Often patterning the steps to the music. But in Twyla Tharp’s first years as choreographer she created steps without music. Differentiated moves and postures, patterned steps, then forcefully calling on her dancers and associates to extend themselves … embodying the Expansion in principle and the S-universe in realization**
*For all that poetic verse has tried to make the effort with B-speak. And as, for example, with “songs,” alloying words and music.
** And, in her words about her work, “back and forth between the head and the heart,” which should evoke for us the possibility of CEM performance. If we can come to be able to compose our individual and community selves.
In light of the very useful Search feature now available, parenthetical back references are suspended for Comments as of C-184.
(c) 2021 R. F. Carter
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