Paradigma je stupnica, alebo kombinácia stupníc, napr. tonálna paradigma (tonalita) je paradigma, kombinujúca durovú a molovú stupnicu. Zisti počúvaním, či je Debussyho skladba v tonálnej paradigme.
Zisti počúvaním, či je Improvizácia v tonálnej paradigme.
Prilep túto vetu k tomu, na čo si prišla/prišiel počúvaním… “The combination of two cyclic sets forms an array, from which Perle derives his compositional resources and which generates the hierarchy of structural relationships in the system” [1]. Ak nedrží, pokračuj v počúvaní.
Zisti počúvaním, či je etuda v tonálnej paradigme.
Zisti počúvaním, či je sólo v tonálnej paradigme.
Prilep túto vetu k tomu, na čo si prišla/prišiel počúvaním… ““An interval cycle is an ordered series of pitch classes, based on a single recurrent interval, which is measured by the number of semitones it spans.” [1]. Ak nedrží, vráť sa na začiatok blogu a pokračuj v ďalšom behu počúvania.
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Presah: Takto počúvaním štartuješ svoju reflektivitu, ktorá si po určitom počte behov, (toľko, koľko potrebuješ), vytvorí východisko, autonómny generátor hypotéz/predikcií pokračovania textu. A tak sa na svet dokážeš pozerať zvnútra textového generátora, ktorý na rozdiel od GPT-3 má k dispozícii všeobecnú inteligenciu.
Vytváraš si svoju teóriu, ktorá môže byť nesprávna a súčasne taká zaujímavá ako Perleov objav v nepochopenej Schoenbergovej 12-tónovej metóde (dodekafónii), ako sa dočítame v [1]:
“In 1937, at the age of twenty-two, Perle first happened upon a score of Berg’s Lyric Suite and recognized that the work uses the twelve pcs of the aggregate as an autonomous collection outside the domain of tonality. Perle observed that in the first movement both
the linear and vertical pitch configurations are structured on the basis of perfect fifth cycles. Although he attempted to decipher Schoenberg’s twelve-tone method from Berg’s, Lyric Suite, he was not successful. In 1939 Perle began composing a string quartet according to principles that he assumed constituted Schoenberg’s method. But during a composition lesson with Emst Krenek later that year, Krenek informed Perle that he had misunderstood Schoenberg’s method, but called Perle’s work a “discovery.” (Perle’s first exposure to music composed in the twelve-tone method occurred in 1937, when he encountered Berg’s Lyric Suite. Perle began an intensive study of the work, hoping to deduce Schoenberg’s method from it. In 1937 very little was known in the United States about Schoenberg’s twelve-tone method. Contemporary commentaries on the Lyric Suite gave fleeting reference to the work’s twelve-tone aspect. Moreover, access to Schoenberg’s own twelve-tone music was severely limited, due to the outbreak of- World War 11. Hence it was not until 1939, during a composition lesson with Ernst Krenek, that Perle learned of his misunderstanding o f Schoenberg’s method).
Referencie:
[1] https://www.collectionscanada.gc.ca/obj/s4/f2/dsk1/tape9/PQDD_0014/NQ40259.pdf
[2] https://musictheory.pugetsound.edu/mt21c/TwelveToneTechnique.html
[3] https://www.youtube.com/watch?v=QQ5HeTnjK8A&list=PLDD14E7E0CF4260E9
Samoutváranie / Selfcreation 