Sympnoia: Yes, this method of re-ordering pitches is clear and it presents a new question, which is, how then is Time organized within this work?
Proklos: My dear and insightful Sympnoia, you have struck the true essence of this manner of working…how do the 2 sets of material appear in Time?? Do they march along side by side in lock-step? Or do they travel their own trajectories through Time, with each one independent of the other?? Let us recall Aristotle through Aquinas: ars imitatur naturum in sua operatione.
Here is what I propose to examine:
lublin timings 1
lublin timings 2
You'll notice that the timings are based on the overall Time-schema of the work being 24 minutes in total duration. The time is divided into 18 sections which relate to 18 sets of material where pitch, dynamics, lesser duration and timbre were chosen using chance-operations and random processes. The Timings were determined using the mean-time of 80 seconds (24 minutes divided by 18) and then each of those durations could be of greater or lesser duration by 35 seconds, so the shortest time for any of the 18 sets of material was 45 seconds, and the longest time was 115 seconds. Within than span (45-115 seconds) each of the 18 sections was randomly determined so that the materials for each separate instrument were moving in time at an individual random rate.
Sym: As would be the case if sitting beside a pond, one were listening to the voices of 2 different frogs singing, they would not necessarily be singing in "the same time". And any moments where they happened to sing together, begin a sound together, end together, etc....?
Pro: ....this would be the result of nature, not of a human's intervention and control....precisely!
Sym: Again, I must ask to hear more of this way of organizing Time.
Pro: And so you shall. And in viewing the materials in Forum I, along with the two time-scores herein, you will sense the passing of a natural time.