Consider the binary opposition in music between such factors as the modern and the traditional, the natural and the synthetic, beauty and ugliness, satire and celebration. Consider the opposition between contemporary and "primitive," between Western and Eastern, and between the orchestral and the electronic means of producing sound. The overall purpose of this work is to take various phrases, expressions and methods which would not otherwise easily co-exist, and to blend them together in unified polysonority. "Wyschnegradsky compares musical polysonority with the concept of the Absolute, and equates it with … the point where all of music's dualisms are united and annulled." (See Edward Campbell's Boulez, Music and Philosophy, p. 65). In Kantian or Hegelian terms (or musicologically, in the terms of Adorno), the goal is to find a "transcendental" entry point into a certain region, or domain of thought and sound. This is a location or state of affairs which is both the result of a dialectic process and also the very assumed condition or reality which precedes it, which is outside of time and outside of space, and properly within the domain of the Absolute. This is the evocation of what Andre Breton called the "point suprême" (or a reference to a state "de la future fusion de l'homme et de l'univers par la conquête du point suprême."). On the other hand, this fusion and rendering can be considered as a satirical exploration, or parody, in part, of the very notion of any full expression of "the Absolute" in purely aural or sonic terms; or at the very least, it may be looked upon as an exploration of the binary opposition between parody and celebration, between seriousness and satire, or between the unqualified affirmation of trans-universality and any attempt to ridicule such an idea.
In music generally, we may consider and examine the following "Binary Oppositions," which are operated upon in this particular work:
high pitch / low pitch
quick tempo/slow tempo
traditional tonality / nontraditional tonality
sudden attack/gradual approach
thick timbre/thin timbre (individual instruments)
thick orchestral texture/sparse orchestral texture
steady sustained line/fluctuating line
polyphony / monophony
unified sonority (one sound universe)/ polysonority (more than one)
clarity / confusion
electronic instrumentation/natural instrumentation
natural pitch/unnatural pitch (due to pitch correction automation)
Western musical idiom/Non-Western idiom (African, East Indian, Chinese)
Modern idiom (20th, 21st century)/Traditional idiom (earlier centuries)
common allusion (Beethoven, a folk song, anthem)/uncommon allusion
sharp (stereo) separation / unity, or monaural (no) separation
The specific content of the work consists of quotations and some additions for the sake of the unity. This is an example of poly-sonority or sound texture synthesis, a bit like Musique Concrete, but with more emphasis on the "musique" and less on the "concrete." Listeners may notice quotations from known works and composers: a symphony by Beethoven, Tyler Hughes' "Interpretations on Folk Melodies," and some quotes from more or less obscure works: electronic pieces, East Indian singing, atonal orchestral pieces, Cantonese opera, anthems, folk songs, an informal South African church hymn and so forth.
The quotations and allusions are altered by filters, changes in the pitch of parts of the audio files, changes in volume or dynamic emphases, slight tempo modifications, interaction with overlapping or accompanying audio files, changes in panning, and other "automation" parameters, sometimes as separate features, or sometimes all at once.
www.tinyurl.com/binaryoppositions on Soundcloud