On Tue, Mar 4, 2014 at 3:11 AM, Kim Jones <kimjo...@ozemail.com.au> wrote:

>
> On 4 Mar 2014, at 9:48 am, LizR <lizj...@gmail.com> wrote:
>
> Without listening to that (since I'm at work) I am under the impression
> that "Carmina Burana" is, at the beginning at least, 4 beats to the bar,
> not 3?
>
>
>
> Maybe I missed the point. I am not "musical" (except that I like listening
> to music).
>
>
>
> You would have to be halfway musical to even pick up on that! Indeed "O
> Fortuna" (the first song of Orff's "Carmina Burana") is cast in 3 beats to
> the bar at the opening, certainly when it gets fully under way...
>

Yes, for these beginning measures of "O Fortuna"; but Orff was like
Stravinsky and their successors with playing around with meter, especially
when you look at the whole work: meter can and does change at any moment.
Not least because of the conversational/prose character of the texts as
basis. This plus frequent caesura use makes it so "prose-like, naturally
conversational" and the rhythmic complexity (frequent changes in meter of
two, threes, fives, fours, sevens) under the hood is not simple to discern,
without a deeper look. Fun stuff :-) PGC


>
> I just checked it on the full orchestral score. This is interesting
> because the "threeness" of this huge opening is not explicit, which is what
> I was saying earlier. "Beat" in music is simple arithmatic, yet even with
> such simple resources as ordinal numbers associating with each other
> (somehow!) to produce these qualia that gives me an aesthetic impression of
> circularity is already incredibly advanced and difficult to describe. Tis
> the magic of the numbers.
>
> Music IS numbers, but the qualia it induces in my consciousness are
> something else. If I understand that part of comp correctly.
>
> K
>
>
>
>
>
>
>
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> ============================
>
> Kim Jones B.Mus.GDTL
>
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