In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.
Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply.
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.
I'm perplexed, though, by your application of the term 'negative' to my figural imagery.
With respect to the respective French and German traditions you are no doubt correct, although I am reluctant to see individual achievement reduced to archetypes.
Other composers have taken this particular technique much further than I in the meantime, with the result that the Law of Diminishing Returns has begun to apply.
I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.'
Actually, most things I say in public lead more or less directly to my own compositional practice, so I should be careful about generalizing lest they come back to haunt me.
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.
Sometimes one can be so closely involved with things that the larger context is lost to view.
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.
Naturally enough, I couldn't have foreseen the vast sea change which has come upon that scene as a result of German reunification and associated events.
This was possible only by dint of extended periods of frequently quite painful reflection and digestion.
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.
The past nine years in San Diego have represented such a period of questioning.
If the work of art is to continue pursuing the vision of both being in and of the world but nevertheless in some fashion being more than just one more object to the mounting clutter, this is the specific point, I think, where this must be assured.
Why, in such a case, should the performer essay any sort of considered approach at all?
What makes a specific quality or quantity of innovation retain its intense newness over the years?
My own position is, that it is largely up to the work itself to suggest the nature of these referential points without dimensions in and through the processes by which the distance between them is maintained.
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.
