I suppose that the scope and implications of such forces have rendered my personal accounting ritual pretty much obsolete. That's how things sometimes go.
What makes a specific quality or quantity of innovation retain its intense newness over the years?
As a necessary prerequisite to the creation of new forms of expression one might, I suppose, argue that current sensibilities respond uniquely to the notion of exhaustion as exhaustion, although that does de facto seem rather limiting.
By reason of weird translation, many such sets of instructions read like poems anyhow.
Sometimes one can be so closely involved with things that the larger context is lost to view.
I'm perplexed, though, by your application of the term 'negative' to my figural imagery.
The past nine years in San Diego have represented such a period of questioning.
Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.
This was possible only by dint of extended periods of frequently quite painful reflection and digestion.
Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.
I don't see 'lines of force' as being destructive, except to the extent that they are exclusively traceable through observance of the path of distorted material left in their wake.
When I left Europe in 1987 I did so with the thought that my relevance as a composition teacher would benefit from a certain cool distance to certain tendencies I had been observing for several years with increasing disquiet.
When I speak of 'cycles,' I am referring to lengthy intervals of relative homogeneity, if not in the resolving of problems, than at least with respect to the consistency of their capacity to productively irritate.
If nothing is at risk, nothing is established.
Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.
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