everythingthatgrowz asked: hi there, post/40011827667/eno-curator, can you tell me where that's from ? xx
It was in Simon Reynolds’ recent book “Retromania” (p.130)
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(via Introducing Bravura, the new music font | MAKING NOTES)
Music, typography, font and design nerds assemble! I’ll form the head!
(via icareifyoulisten)
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Raymond Chandler reminds us to stay humble, as our wits are about as eternal as the food turning soft in our fridge (I’m looking at you cabbage…).
“Cleverness, like perhaps strawberries, is a perishable commodity.”
I find quote-hoarding to be a fabulous method of borrowing the knowledgable thoughts of others when my own fails.
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Bach Stretch No. 5: An Exposition
I really have a hard time coming up with the proper titles for these works. This one seems so dry compared to what the audible product sounds like. Yet, since I use this process of recomposition as a means (and an end) to discuss analytical components of Bach’s music, sometimes the dryness of music theory bubbles to the surface.I consolidate the major elements of the exposition of this three voice fugue into a nearly 7 minute stretch. There are three entrances; the first is on D5, second on G4, and the third on G5. These entrances are followed by a reentrance of the subject on D5 (which I don’t include in the stretch and count as fourth voice since it is simply reiterating the opening subject at the same pitch class level),episode and closing material. I stretch each subject (main fugal theme), followed by the quickly moving harmony of the chromatic ending of the first episode, thus concluding the exposition.
I tried to be rigorous in the stretching techniques used by maintaining a certain consistency in stretch factor (10) and time resolution (.25). I extracted different parts of each subject entry for further “stretchification” that still used the SF 10/TR .25 scaling. The effect of this is a lot of bleeding of tones within and between each subject. Lastly, this bleeding within and between becomes intensified dramatically when the closing episodic material enters around 2’39”. For at least two minutes we are in a wash of dissonance until the G3 pedal tone is remaining with a short lift (surprise) to the D6 that reintroduces the subject.
For clarity’s sake here are the times when you should hear each subject entrance throughout the track:
Subject 1: 0”-52”
Subject 2: 52”-1’46”
Subject 3: 1’46”-2’39”
Closing Episodic Material: 2’39”-6’13”
Surprise: 6’13”-6’38”
Here is a public link to an annotated score that shows what material I used and when it appears in the track.
Below is the original recording I used (sorry if you aren’t a Spotify user). It might be instructive to listen to the first 45 seconds, if not the whole thing.
Happy listening!
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Nice collab.
(Source: Spotify)
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#wtf
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#jetstream #sunrise #harvard #morningram
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Neighborhood Nervous System. #wires #somerville #springhill
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The twentieth century is, among other things, the Age of Noise. Physical noise, mental moise and noise of desire––we hold history’s record for all of them. And no wonder; for all the resources of our almost miraculous technology have been thrown into the current assault against silence. That most popular and influential of all recent inventions, the radio, is nothing but a conduit through which pre-fabricated din can flow into our homes. And this din goes far deeper, of course, than the ear-drums. It penetrates the mind, filling it with a babel of distractions––news items, mutually irrelevant bits of information, blasts of corybantic or sentimental music, continually repeated doses of drama that bring no catharsis, but merely create a craving for daily or even hourly emotional enemas. And where, as in most countries, the broadcasting stations support themselves by selling time to advertisers, the noise is carried from the ears, through the realms of phantasy, knowledge and feeling to the ego’s central core of wish and desire.
—Aldous Huxley, Perennial Philosophy, pp.218-19
Replace “twentieth century” with twenty-first century. Replace “radio” with internet. Replace “broadcasting stations” with webpages.
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Anachronism on Gore Street
