Text, including the two scores - Columbia University Department of ...

economic dominance. I use the unmodified A/V samples from the start and end of the film as the bookends for my piece, specifically to show that the concert work functions within the bounds of the original material contained therein. global
do not use this footage for any simple political point. I realize the loaded material will cause viewers to automatically impart their own feelings onto an interpretation of the piece, as either promotional aestheticization or denigrating defacement. Many contemporary concert-goers might be amused I
the sheer innocence of the film, and perhaps simultaneously be unsettled by its duplicity as propaganda. Yet I can't help be enthralled by it as an aesthetic by
from a specific context that, whether it ever really existed or not, I will never experience, nor shall anyone experience ever again. 2.4.2 Form artifact
as in describing Cardinality Aleph Two, the piece is described here using the percussion cue numbers as the formal delineation. For clarification: ‘instrumental’ refers to the acoustic instruments (but not percussion pad) and ‘sample’ refers to the pre-made audio or video samples, which are drawn from Just
source film but possibly manipulated/distorted/fragmented. The largestscale form is essentially the classic fast-slow-fast trilogy, elements of which are the
discernable in the electronic audio. There, it is reflected as a move from the discrete percussive hits of the first 5 sections, to the more sustained ambiences of sections 6-8, with section 9 transitioning back into predominately momentary hits for the rest of the piece.
most
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