professors/mathematical.htm

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  19 <h1>Mathematical Music </h1>
  20 <p>&nbsp;</p>
  21 <p>Materiale: intervju, Chronicles</p>
  22 <p>Hva sier han?  </p>
  23 <p>Hva snakker han om? Hva best&aring;r systemet i?</p>
  24 <p>Den teoretiske bakgrunnen: tall og musikk</p>
  25 <p>Teoretisk bakgrunn 2: rytmeteori</p>
  26 <p>Den praktiske koblingen</p>
  27 <p>&nbsp;</p>
  28 <p>He's
  29   been talking about this before, in recent interviews (and, possibly, in
  30   the Burling interview from 1966, where he goes on about &quot;mathematical
  31   music&quot;). I think - to be honest - that a lot of it is less clear-cut as
  32   a method than what he presents it as, and all this stuff about even and
  33   odd numbers - well, I don't think it makes sense as a consistent system,
  34   but that may not matter, if it has worked for him.
  35   Judging from the points he makes that are more or less clear, and that
  36   can be applied and compared to what he does on stage, it seems fairly
  37   clear that he's talking about the peculiar guitar style that he has
  38   developed during the Never Ending Tour years: the little two-three-note
  39   figure solos that he has kept churning out and that at times has driven
  40   most of us crazy, but which also &mdash; in a strange way and to a
  41   surprisingly high degree &mdash; work, musically. Outgrowths of this is
  42   probably also the sing-song/&quot;up-singing&quot; style of the recent years: it
  43   all fits his description fairly well, of a system of infinite
  44   permutations of very simple formulas, nothing to do with improvisation
  45   or inspiration, but a schematical approach to the basic chords and
  46   melodic shapes, which can be applied to just about any song &mdash; which is
  47   what he does.
  48   That said, I don't think it is a system that someone else can learn to
  49   use &mdash; it is hardly insignificant that there are twenty years of touring
  50   and music making between the time he first learned it and when he
  51   understood how to put it to use. It has taken him those years to gain
  52   the musicianship (and perhaps also the need for routine which persistent
  53   touring must bring with it) which he then could cross-fertilize with
  54   what Lonnie Johnson had told him, to produce his new method. In other
  55   words: I think Dylan should receive more of the credit for it than Lonnie.</p>
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