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
Earlier this spring I completed my master’s thesis at the University of Texas. The project, Multivalent Rhythmic Orientation, explores the idea that a single musical structure can often be experienced from multiple rhythmic perspectives at the same time.
This presentation introduces the core ideas behind the project and includes examples from my own compositions, including Mwana WeShumba and Polyphonic Hocket. It also draws on lessons I’ve learned through more than thirty years of studying Zimbabwean music and the ways rhythm can be experienced physically as well as intellectually. The presentation runs about 74 minutes and was recorded at the UT Butler School of Music.
