An Exploration of the Discontinuous-Continuous Fusion in Yuunohui’tlapoa for Keyboard

This work arises from the compositional and theoretical research on music scales through d1-theory, and on the continuum; it resorts to a terminology useful for composers, interpreters, or musicologists without mathematical training, as the author himself. The musical topic of the continuum emerged in the 20th century, introducing ideas like rhythm as frequency, microintervals, timbre, noise, glissandi, and spatialization. A unified study to comprehend the musical continuum as a global field needs to focus on a blend of components of rhythm (pulse, attack, microdurations) and sound (pitch, dynamics, color). This idea is understood as a macrotimbre. When these components in a continuous macrotimbre are intended to be asynchronous, the audible result is an amalgam of disruptions, interferences or crossings that are perceived as an elastic musical matter. By combining sequential pitch with continuous transitions of chords density, harmonic content, dynamics, and speed of pulse, such as yuunohui’tlapoa for a keyboard, asynchrony produces a discontinuous-continuous macrotimbre. The synthesis of this last is perceived as internal collisions of rhythm, melody, and harmony within a melo-harmonic texture or as a macro-timbre texture. The substantial differences between discontinuity and continuity in terms of calculation, memory, perception, or imagination, prompted the need for a distinct compositional approach to allow the notation of its constant spatial-temporal evolution, this being fulfilled by chronographic recording of rhythm and sound.