tag:blogger.com,1999:blog-26741618.post5961821379516888214..comments2024-02-28T02:22:20.886-08:00Comments on homunculus: Fear of music?Philip Ballhttp://www.blogger.com/profile/09986655706443117158noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-26741618.post-13809108070921392142011-09-18T07:21:30.138-07:002011-09-18T07:21:30.138-07:00EAV Pro Audio stock a wide range of Passive PA Spe...EAV Pro Audio stock a wide range of <a href="http://www.e-av.co.uk/speaker-systems/passive-pa-speaker" rel="nofollow">Passive PA Speaker</a>, Mixing desk, Power Amplifiers, audio interfaces, Wireless microphones and wired microphones along with a massive range of home and professional recording equipment.Prizmhttps://www.blogger.com/profile/15346367910231161904noreply@blogger.comtag:blogger.com,1999:blog-26741618.post-47129813730735999762009-12-26T16:29:39.396-08:002009-12-26T16:29:39.396-08:00Hi Philip,
First of all, I wish to apologize for ...Hi Philip,<br /><br />First of all, I wish to apologize for the tone of my comments on the Prospect article; after re-reading, they strike me as at best, uncharitable, and at worst, vituperative- two things which I strive not be in real life. Shame on me.<br /><br />As a lover (and composer) of atonal music, I grow angry whenever I perceive less than rigorous arguments about the possibilities or success of "atonal" music. Truly, I'm glad to see from this version that your original article was a little more sanguine, and less thin on theory, as well. <br /><br />Indeed, I thought it was perhaps the result of editorial decisions more than a lack of knowledge on your part, which is borne out by the fact that the unedited version is much more fleshed out. Had your direct reference to a recent music theorist been kept, I would never have attacked the piece the way I did, as I am a huge fan of Kramer's "The Time of Music."<br /><br />While I still disagree with the piece and the general treatment of atonal music in the "scientific" literature, (this sentence from Nature is particularly egregious: "the Five Orchestral Pieces of Arnold Schoenberg still come across to many as little more than noise"), I hope we can agree that the editing made it seem like you may not have been as familiar with the subject matter as you are. <br /><br />Best of luck on your up-coming book! <br /><br />Sincerely,<br />Will<br /><br /><br />PS. I am working on a project at the intersection of sound art and atonal music theory/cognition that may interest you. Happy to talk about this "offline."cicerohttps://www.blogger.com/profile/05700365894238918115noreply@blogger.comtag:blogger.com,1999:blog-26741618.post-30478887940849991682009-11-11T00:47:44.449-08:002009-11-11T00:47:44.449-08:00Hallo, I write about your post in my italian blog:...Hallo, I write about your post in my italian blog: <br />http://www.ascoltomusica.it <br />Your post is interesting, compliments.Frankhttps://www.blogger.com/profile/13020855387873727439noreply@blogger.comtag:blogger.com,1999:blog-26741618.post-66715752534728962192009-10-28T21:12:19.805-07:002009-10-28T21:12:19.805-07:00I really loved what you had to say about Gestalt, ...I really loved what you had to say about Gestalt, but ultimately, I don't buy it. <br /><br />Response <a href="http://www.analogartsensemble.net/2009/10/tantalizing-argument.html" rel="nofollow">here</a>jodruhttps://www.blogger.com/profile/03316056147287208728noreply@blogger.comtag:blogger.com,1999:blog-26741618.post-16529296356134680572009-10-27T13:45:51.527-07:002009-10-27T13:45:51.527-07:00Hi William,
Thanks for your comments. I'd sugg...Hi William,<br />Thanks for your comments. I'd suggest that tonality needn't be the be-all-and-end-all of expectation and deviation: one can set up such things rhythmically, for example. And atonal melody lines can still achieve some coherence if they respect other gestalt principles such as mostly small pitch steps, as Berg does in his Lyric Suite. But you're right that an awful lot of deviation traditionally relied on tonality, and if you jettison that, you need to acknowledge that there's some compensating to do. That's really the thrust of my Prospect piece.<br />The Music Instinct is due out, in the UK at least, in the spring of 2010. I'll put details on my web site soon.Philip Ballhttps://www.blogger.com/profile/09986655706443117158noreply@blogger.comtag:blogger.com,1999:blog-26741618.post-77879145929755331002009-10-27T06:12:01.713-07:002009-10-27T06:12:01.713-07:00...my forthcoming book The Music Instinct I can&#...<i>...my forthcoming book The Music Instinct</i> I can't wait!<br /><br />I agree with pretty much everything you've written here. My biggest problem with modernist music is that tonality is required for relief. If you insist on pure atonality you will have nothing but tension, and no tonic to fall back on. But this implicates tension as well - if you are unable to establish a tonal center, you have nothing to deviate from - where's the tension supposed to come from? Everything ends up indistinct, which is unsurprising given the egalitarianism inherent in the twelve-tone system.Gamhttps://www.blogger.com/profile/16929144832139880834noreply@blogger.com