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Dimitri Papageorgiou/Interlocking and Scaling

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Patterns of Intuition

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Abstract

Interlocking musical patterns and polyrhythmic structures are among the characteristics of Dimitri Papageorgiou’s compositional practice. In this project we formalized these techniques, after which Papageorgiou showed how these formalizations apply within the context of a number of his compositions.

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Notes

  1. 1.

    The Greek military junta of 1967–74.

  2. 2.

    Zbigniew Bargielski (*1937), Polish composer.

  3. 3.

    Hermann Markus Pressl (1939–1994), Austrian composer and professor at the University of Music and Performing Arts Graz.

  4. 4.

    Andreij Dobrowolski (1921–1990), Polish composer and professor at the University of Music and Performing Arts Graz.

  5. 5.

    For corroborative evidence of Bartlett’s theory, see [7, 23, 34].

  6. 6.

    See, however, [5, 25, 28] for reviews.

  7. 7.

    I2b(a)!/I2b(7)! are not strict transformations of cell b. They constitute a deviation from the norm, as they rather present a mixture of inversion and retrograde. This deviation has been used at this point because it seemed to better serve the melodic flow of this “cadential” figure.

  8. 8.

    The reader should consult the book Fractals, Chaos, Power Laws: Minutes from an Infinite Paradise [31], which is an comprehensive source of information with regard to self-similarity.

  9. 9.

    In his book [15] Lefèbvre refers to three theoretical categorisations that can be applied to aggregate rhythms: “polyrhythmia” (two or more rhythms that are not perceived as deriving from each other and are, therefore, in conflict); “eurhythmia” (rhythms characterized by a harmonious relationship); and “arrhythmia” (rhythmic irregularity).

  10. 10.

    To avoid too complicated rhythmic subdivisions, I traded off accuracy against flexibility, in as much as scaled durational patterns could be normalised at a 1/32 metric level.

  11. 11.

    ‘\(\times \)’ denotes a concatenated scalar product, e.g. \((1, 1/2, 1/3) \times (\text {a, b, c}) = (\text {a}, \text {b}, \text {c}, \text {a}/2, \text {b}/2, \text {c}/2, \text {a}/3, \text {b}/3, \text {c}/3)\).

  12. 12.

    The minus sign indicates a rest, here with a duration of \(1/1.5\) of q’s duration \(= (13+23+17+19+11) * 2/3 = 166/3.\)

  13. 13.

    See [21, 22].

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Author information

Authors and Affiliations

  1. Department of Music Studies, Aristotle University of Thessaloniki, Thessaloniki, Greece

    Dimitri Papageorgiou

  2. Institute of Electronic Music and Acoustics, University of Music and Performing Arts Graz, Graz, Austria

    Daniel Mayer & Gerhard Nierhaus

Authors
  1. Dimitri Papageorgiou
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  2. Daniel Mayer
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  3. Gerhard Nierhaus
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Correspondence to Gerhard Nierhaus .

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Editors and Affiliations

  1. University of Music and Performing, Institute of Electronic Music and Acoustics, Graz, Austria

    Gerhard Nierhaus

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Papageorgiou, D., Mayer, D., Nierhaus, G. (2015). Dimitri Papageorgiou/Interlocking and Scaling. In: Nierhaus, G. (eds) Patterns of Intuition. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-9561-6_6

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  • DOI: https://doi.org/10.1007/978-94-017-9561-6_6

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