Combinations of elements and their arrangements contribute to the completeness of an artistic work.
In a work designed with sound, such things as the production of tones and elements of movement, contrast, and pattern develop a sonic environment experienced by the listener in ways that differ from those typically fitting the definition of music. While there are no specific organizational structures that the piece must follow, neither are such structures out of bounds. They simply may not be useful in contributing to the total effect of the work.
If the goal of a piece is to liberate thought and emotion from the dominance of standard musical patterns, for instance, or to engage listening in ways other than the insistently repetitive and predictable, elements of melody, rhythm and percussion may prove more shopworn than interesting or uplifting.
In a work designed with sound, such things as the production of tones and elements of movement, contrast, and pattern develop a sonic environment experienced by the listener in ways that differ from those typically fitting the definition of music. While there are no specific organizational structures that the piece must follow, neither are such structures out of bounds. They simply may not be useful in contributing to the total effect of the work.
If the goal of a piece is to liberate thought and emotion from the dominance of standard musical patterns, for instance, or to engage listening in ways other than the insistently repetitive and predictable, elements of melody, rhythm and percussion may prove more shopworn than interesting or uplifting.
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