“I think that the music of our time has succeeded in achieving a kind of texture in which musical atoms (pitches and intervals) and dualisms (melody and harmony, dissonance and consonance, diatonic and chromatic) become absorbed in an overall background, so that what one hears in a great deal of contemporary music is background brought up close, with projections consisting of fragments, or bits and parts–one might even say memories–of individuals…The behavior, the role, and, in many cases, the identity of the individual atom become lost in the larger presentation.”
“I bring in the reference to persons not because the music is about persons, which would reduce music to only a metaphor, but because it is for persons. Musical behavior is my behavior, and the understanding of a certain kind of musical motion stands in a symbiotic relationship to the understanding of myself and my culture” (172).
-Thomas Clifton, Music as Heard (Yale U. Press, 1983, pp. 168, 172).
What makes this music move is its motions—
the play of the bouncing samples against the main pulse,
crossing chord and voice fours over steady synths, cymbals, claps, and kick threes.
This crossing against creates torsion,
suspenseful edges for our expectations.