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Despised Instrument (i​.​e. Guitar) Solos Omnibus Having 'Salient Features' Kerplunk Montage

by Kieran Daly

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1.
Untitled 26:45
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about

Recorded early 2020 at Limited Sinker Mobile LLC, Chicago, IL
Pre-recorded February 2020 at Sinker Audio Solutions, Chicago, IL

BLURB

Compositional behavior of ostensible instrument (i.e. guitar) not limited to bouncing and breaking morphologies (Warren & Verbrugge 1984); restricted glissandi, quilisma, and interval-class vagueness (Unger 1980; D'Alessandro et al. 1998; Leek & Summers 2001; Houtsma 1984); registral (spatial) discontinuity and non-time-like ordering (antichaining)—neither earlier nor later, but elsewhere-distant (Bernard 1983; Lango 2000; Bnefsi 2020); pulse-train (periodicity) jitter and lacunarity from non-linear bifurcation (Pollack 1969; Carylon 1994). Globally extemporaneous partial order of pairwise disjoint, non-isomorphic gestures (parataxis), defined as "antichain improvisation," after color-swatch paint testing (Peltz & Golownia 2014), Xenakis (DeLio 1980; Squibbs 1996; Gibson 2011), and Lin (2012), Stein (1975), Silliman (Perelman 1993). Order of gestures corresponds to real-time sequence in which they were extemporaneously performed; only edits made were to remove extraneous ('excessive', non-structural) gappiness between adjacent gestures.

Despised Instrument (i.e. Guitar) Solos Omnibus Having 'Salient Features' Kerplunk Montage attempts to at least tentatively respond to the following questions: 1) How to suspend determinate saliency of internal segmentation boundaries within morphologies (gestures) containing variable, non-linear jitter and bifurcation distances as infrastructural details, thus avoiding conflation of morphs with linear, phrase-based processes? But first: Why might such linear boundaries be determined? Perhaps as a false positive of individual morphologies (morphs) as self-organizing processes and their emergent typological uniformity as mereologically but not ontologically equivalent relative across a composition of pairwise disjoint morphs (Polansky 1996; Cotnoir 2010). 2) What is the morphological criteria for the real-time determination of incomparability or non-isomorphism—and thus their ordering—between adjacent gestures? And what are the carriers that might most effectively secure non-isomorphism? 3) Given that some non-adjacent—ignoring their partial order-relation—gestures might be minimally isomorphic, how are degrees of morphological incomparability measured? 4) How are gestures determined for inclusion in a given mereological equivalence class (i.e. composition)?

UNANNOTATED BIBLIOGRAPHY

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Cotnoir, A. J. (2010). Anti‐symmetry and non‐extensional mereology. The Philosophical Quarterly, 60(239), 396-405.
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D’Alessandro, C., Rosset, S., & Rossi, J.-P. (1998). The pitch of short-duration fundamental frequency glissandos. The Journal of the Acoustical Society of America, 104(4), 2339–2348.
DeLio, T. (1980). Iannis Xenakis' "Nomos Alpha": The Dialectics of Structure and Materials. Journal of Music Theory, 24(1), 63-95.
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PREVIOUS SOLO GUITAR RECORDINGS

"Impotence Solo" (Gauss PDF, 2016)
"untitled pluff BGM w ossias" (Madacy Jazz, 2016)
"Testing 'Groove Tubes GT55 Class A FET Condenser Microphone'" (on KIERAN IN A HOLE) (Hibari Music, 2017)
"fuj and pyrrho" (split with Sean Colum) (Madacy Jazz, 2019)

CREDITS

Kieran Daly (composition, production, text)
Sinker (engineering)

ELEPHANT IN THE ROOM

SARS-CoV-2 (COVID-19) pandemic.

DEDICATION

Fujiko Workman, the vocal morphology of whom will have been indelibly present in all music.

credits

released April 7, 2020

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Madacy Jazz Philadelphia, Pennsylvania

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