As Composer
As a composer his works fall generally into three categories:
- microtonal works in just intonation, involving electronics;
- rhythmically complex works for Disklavier (computer-driven acoustic piano); and
- piano and ensemble music whose rhythmic complexity tends to be milder and within a single tempo framework.
Of particular importance in most of his music is the concept of repeating loops, ostinatos, or isorhythms of different lengths going out of phase with each other; the idea leads to simultaneous layers of different, mutually prime tempo relationships in his Disklavier and electronic works, and is used in a less obvious structural way in his live-ensemble music. This concept can be traced back to suggestions in the rhythmic chapter of Henry Cowell's book New Musical Resources, but is also related here to inspirations from astrology, into which Gann was drawn by the writings of composer/astrologer Dane Rudhyar.
Another thread in his work has been the influence, both rhythmic and melodic, of Native American music, particularly that of the Hopi, Zuni, and other Southwest Pueblo tribes. Gann first learned about this music from reading a musical analysis of a Zuni buffalo dance published in the book Sonic Design by Robert Cogan and Pozzi Escot. According to Gann, "It was going back and forth between different tempos: triplet, quarter, dotted quarter, and quarters. So I started collecting American Indian music. solved a rhythmic problem for me, because I was really interested in music with different tempos."
Starting in 1984 with his political piece The Black Hills Belong to the Sioux, Gann adopted a method of switching between different tempos (usually between quarter-notes, dotted eighths, triplet quarters, and other values) as a more performable alternative to the simultaneous layers at contrasting tempos that he had sought earlier under Charles Ives's influence.Ironically, other composers had arrived at a similar technique via other routes, coalescing into a New York style of the 1980s and '90s called Totalism.
A common Gann strategy is to set a rhythmic process in motion and use harmony (mostly triadic or seventh-chord-based, whether microtonal or conventional) to inflect the form and focus the listener's attention. Gann's microtonal music proceeds according to Harry Partch's technique of tonality flux, linking chords through tiny (less than a half-step) increments of voice-leading. In 2000, Gann studied jazz harmony with John Esposito, and began using bebop harmony as a basis for his non-microtonal music, even in contexts not reminiscent of jazz.
Read more about this topic: Kyle Gann
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