Liminality as a Framework for Composition: Rhythmic Thresholds, Spectral Harmonies and Afrological Improvisation
type: CreativeWork
description: This paper examines the ways in which involvement with both French spectral music and Afrological forms of improvisation has informed my current work as a composer. I present a brief overview of the major concerns and preoccupations of both musics as well as an account of the overlapping histories of spectral music and Afrological improvisation, with particular attention to the concepts of liminality and rhythmic thresholds in the light of recent music perception research. Finally, through an in-depth analysis of two of my recent compositions, Echoes (2008) and Baltimore/Berlin (2008, rev. 2011), I show how this ongoing inquiry allows us to think about composition in new and fruitful ways.
abstract: This paper examines the ways in which involvement with both French spectral music and Afrological forms of improvisation has informed my current work as a composer. I present a brief overview of the major concerns and preoccupations of both musics as well as an account of the overlapping histories of spectral music and Afrological improvisation, with particular attention to the concepts of liminality and rhythmic thresholds in the light of recent music perception research. Finally, through an in-depth analysis of two of my recent compositions, Echoes (2008) and Baltimore/Berlin (2008, rev. 2011), I show how this ongoing inquiry allows us to think about composition in new and fruitful ways.
author: Lehman, Stephen Hart
language: English
keywords: Music, Composition (Music)
date published: 2012
date modified: 2026-07-24T01:44:20Z
provider: Columbia University
publisher: Networked Digital Library of Theses and Dissertations
type: WebPage
source organization: Columbia University

PropertyValue
property ID: DOI
value: 10.7916/D8RJ4RKM