Here are slightly modified versions of papers that I wrote recently for the conferences “The Making of Musical Time” at the Orpheus Institute in Ghent on 25-26 February, and “Composition and Musical Aesthetics” at Goldsmiths, London on 20-22 February. The former goes into a fair bit of detail about the ideological dimension of counterpoint as I see it at the moment, whereas the latter in fact problematises the coherence of this ideological dimension, raising, in a tentative way, the spectre of ‘commitment’.
Of course, I’m already having doubts about formulations in both of them and some things in the latter are now redundant because I’ve changed tack for the tape part of the piano piece. But nonetheless, I think they are getting at something worthwhile, and bits of them will make their way into future papers, etc.
Any thoughts, comments, criticisms, are very welcome!