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The proposed idea is in the form of a competition because the competition aspect of it will give profile to the genre. Actually what is proposed is the genre itself.
The competition will be televised, will be held in a prestigious venue, will be attended by heads of state and celebrities, will be
a flurry of luxurious receptions, trade sponsorship and glittering prizes for the winners and prestigious lifestyle enhancements for all participants.
The genre is basically a musical composition, the performance of which runs for a total of under one second.
The rules of the competition permit but do not require things like spoken introductions or tuning, though these are not considered to constitute part of the performance. The rules also permit the continuation of resonance or after-effects beyond the 1 second duration of the composition; for example a performance on bells or plucked strings can allow the natural free resonance to decay at its own rate. Artificially sustaining the sound after the end of the 1 second by mechanical or electrical means is strictly prohibited.
Printed programmes may be distributed for the performance and may be of any size.
Each composition is to be presented as a stand alone event. The auditorium to be emptied before the audience is admitted for the next performance.
The idea is that musical composition as a miniature artform is an under-developed discipline.
In time the artform may evolve to incorporate different categories including classical, electronic, avant-garde, humourous, etc. but initially there should be a single open category for anyone to enter.
All entries into this competition will be incorporated in the special de-luxe album of entries, which will comprise a bound set of CDs or vinyl records; one disc per entry.
The ultimate aim is that the sub-1-second musical composition and performance comes to be regarded as a serious art form.
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Annotation:
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//The rules also permit the continuation of resonance or
after-effects beyond the 1 second duration//
Nigel Tufnel: The sustain, listen to it.
Marty DiBergi: I don't hear anything.
Nigel Tufnel: Well you would though, if it were playing |
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I suppose you could write a four-second composition, and
then speed it up to be enjoyed by cats. (A quick google tells
me that human hearing tops out at about 20kHz, while cat
hearing tops out at about 80kHz). |
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I'm trying to think of a way in which the instrument could
produce a longer sound through resonance in such a way
that the pitch of that sound changes over time. Then,
with a few sources of sound, each one of which decays
slowly over time while changing pitch, you could engineer
it to play an interesting sequence of different chords
during this period of sustain. |
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Technically that sustain is not part of the composition and so is not judged. And is widely regarded by listeners and other competitors as "cheating" followed by hisses, boos, and ripping up the seats and throwing them at [hippo]. |
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//Technically that sustain is not part of the composition
and so is not judged.// Damn - thought I'd found a great
loophole |
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About as cunning as taking the battery out of the clock and claiming that the second hand has not moved to the next mark yet. |
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The detonation of 400 pounds of gunpowder betwixt
two giant anvils would take less than 1 second and
would produce considerable sound. |
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[sninc] that would indeed be a valid entry. It would be for the judges (and indeed the discerning music-loving public) to consider the depth and breadth of artistic content and expression in the performance. |
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...and for the janitors and coroners to have the final
word. |
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The // depth and breadth of the artistic content and
expression // could
be increased in a literal sense by increasing the amount
of gunpowder. |
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