Boleros and the TypePhase series pieces are, among other things, attempts to reclaim Musicology to the realm of the senses, and of the Arts. For many years the analysis of music, especially Classical western compositions, has required technical expertise and vast musical culture in order to be practiced. Yet Science has one of its roots (and an essential tool) in the Observation of Phenomena, often peculiar ones. Both pieces aim in this direction: first hand experience (one could say acoustic, sensorial observation) of peculiar sonic events, such as several versions of Ravel’s Bolero played simultaneously, or nine overlapping but shifted (by 3/8ths) piano performances of Händel’s La Réjouissance.
The effect on the audience varies according both to the relationship they have with the original piece and to their personal musical background (but lack of both still produces effects). The sonic result is not only agreeable (a factor often overlooked in conceptual sound compositions), but new music is produced in the process (the sum is greater than the parts, just quantitatively of course), and it elicits musicological sensations in the audience; among the best comments I’ve heard about Boleros there are: “It becomes Stravinski” and “Sounds like Gil Evans”. It’s a kind of musical Wunderkammer, a perceptual musicology for the masses that does not replace the Science (and sometimes Art) of music analysis; it tackles the subject using a different part of the brain, producing different results.