Push for Position

2010-2011

for saxophone, bassoon, PAM, MARIE and electronics

Push for Position comprises a number of core trajectories that are defined by sound source (in this case, human-played instruments, robotic instruments, and synthesizers), high-level associations, and thematic material. These trajectories intertwine with each other so that when one rises to the surface, the others are eclipsed. In addition, the trajectories influence each other so that when one becomes prominent (the speaker), the others (the listeners) incorporate features of that illuminated gesture, which are exhibited when those listeners eventually speak. Thus, the piece has memory: its components learn from and influence each other. The result is a collection of highly discontinuous moments that become increasingly relatable as the trajectories of the work interact over time. In regard to the juxtaposition of trajectories, that is, when one speaker interrupts another, (dis)continuities are created according to feature (dis)agreement. An entity will share some features with its neighbors, but it will also exhibit unique characteristics. The balance between shared and contrasting features creates various kinds of (dis)continuity. In conjunction with the aforementioned type of organization, the piece’s proportional durations are partially governed by contextual identity. A gesture that is interpreted as unrelated to the rest of the piece may be the longest (durationally) and vice versa. Thus, the piece’s form experiments with notions of proportional aesthetics. Such conclusions are, of course, a matter of subjective judgment, so the listener plays an important role in determining the piece’s form.

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