"In the World of Grains". Chapter 4:
"...Traditional classic, neoclassic (and pseudo classic), and most of the modern approaches (20th century) to composing fail when it comes to grains. They must fail, because they are either based on the assumption, that pitch and timbre are fundamentally different aspects of music, or on the assumption, that time and pitch are fundamentally different, but unchangeably connected when it comes to using recorded sonic events in a composition.
Both assumptions turned out to be wrong, when grains entered the scene.
And another divinity of generations of scholars of music schools was reduced to a merely helpful friend (if at all): musical forms (and rules).
So, blowing up the chains, erasing the borders between pitch, timbre, time, and frequency, and even challenging musical forms and formalism in general – grains brought absolute creative freedom, didn´t they?
Well, they brought chaos and disorientation in the first place, and the shrapnels of the granular explosion are still flying, now more than half a century later, causing sybaritic manners searching for shallow fancy sonic effects on one hand, or leading to pallid sonic pseudo-intellectualism on the other hand quite often.
So, let me talk about musical forms, compositional rules, techniques, and approaches a bit now..."
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