ABSTRACT
The following pages may seem relatively conservative to most readers in comparison to the rest of this book. The question at the basis of this chapter is: when one combines sounds as every composer does, at what point does the fuse blow out in a listener’s perception? In other words, where is the borderline between the presence of any sort of model (think of the improvisation discussion in the previous chapter) and perceived chaos? Is this something dependent on melody; or form; or perhaps rhythm, tempo and meter; or even timbre, sound sources or note density?
