ABSTRACT
The reification of this complex opens the way for a discovery of a times
pan phraseology analogous to the pitch phraseology. And within the terms
of these identified music-active characters, a comprehensive-a multiply
comprehensive-close reading of measure 1 o f Du is articulated (based
essentially on the contour of the first three pitch-time sounds). Such com
prehensiveness is as threatening of closure as it is gratifying to the appetite
for complex coherence: a ferment of incompleteness is wanted, to enable
there to be a “ rest of the piece”— rather than, say, a second through nth -
measure piece attached to a measure-i-length piece. From which the ques
tion arises, in the form of a Cartesian introspection on the ontological status
o f adumbration, of-to read the text “ pro-actively”— the presence of the
energies of the future in the stabilities of the present.
