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Explores the challenge of interrelating contrasting rhythms associated with the pace or style of distinct groups, whether as stakeholders, representatives of disciplines or cultures endeavouring to collaborate, or bodies competitively confronted by each other, possibly to the point of conflict. The focus is on whether insights from the theory of harmony are relevant to any creative reconciliation,possibly based on a form of polyphony, that can be collectively appreciated and embodied as fruitful, or may give rise to valued overtones.
The concern is also with the interplay between experiential rhythm and the pointers it offers to new forms of emergent organization through metaphor, as with overtones. Of particular interest is the reconciliation of the faster rhythms, associated organizationally with urgency, and very slow rhythms associated with long-term development, the inexorable emergence of resource challenges, and embedding in the rhythms of historical context. With such an inter-organizational context, in addition to any possible reconciliation, the concern from a musical perspective are challenges of transposition of key, especially when those present effectively represent different "instruments", highlighting the potential and skills of improvisational jamming. The paper builds on early work with respect to poetry, music and song.
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