ccording to Freud, condensation and displacement are thetwo fundamental principles that determine the activity of theunconscious. They are at work in all the formations of the un-conscious (the symptom, slips of the tongue, etc.), though Freuddescribed them chiefly in relation to dreams. Condensation refersto the fact that one simple dream image can represent severalassociative chains at the same time. So, for example, it oftenhappens that a certain figure in a dream turns out on closeranalysis to represent several persons. I dream about my brother,but in the course of the analysis it turns

Saturday, May 11, 2024BICYCLE TOUR OF PASADENA AFRICAN AMERICAN HISTORY: THE 710 STUBJoin Allen Edson, President of the NAACP Pasadena branch, as he leads a bike tour highlighting the 210 freeway, the 710 stub, and the community displaced by the construction.

metric displacement

Chapter 26 provides an analysis of Lennie Tristano’s “Line Up.” Based on this analysis,specific elements of his style of improvisation are codified

rhythmic displacement using different improvisationalstrategies, such as phrase displacement, metric displacement, manipulation of phraseaccents, and melodic interpolations. Phrase displacement occurs when the phrase is shiftedby a beat (or more) and creates a dissonance with the underlying harmonic and metricstructure. Probably the most effective use of this technique occurs in m. 77 where theline begins on beat 2 with a downward arpeggiation of the E major upper-structure triadover the structural B≤7 and is further emphasized with a strong accent on the first quarternote, EΩ4. The manipulation of phrase accents shifts regular metrical accents, therebycreating metric ambiguity. This technique occurs when the phrase temporarily rendersbeats 2 and 4 as beats 1 and 3. The phrase in mm. 159–160 illustrates these features.Notice how beat 4 in m. 159 influences the perception of beat 2 in the next measure.Metric displacement implies the use of cross rhythm to create a characteristic rhythmic joltand increase in tension within the phrase. The phrase in mm. 81–83 displays thesecharacteristics. The distribution of accents and phrase groupings in mm. 81–83 createsan interesting superimposition of 3/4, 3/8, 2/4, and 4/4 respectively. Notice how theuse of 3/8 influences the metric location of sub-phrases in 2/4 and 4/4 in mm. 82–83,and how the perception of the meter in the ensuing measures is constantly beingchallenged

Note the rhythmic displacement

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