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more than music
Jul 7 2009, 4h33
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the music that I liked when I was younger
Jun 15 2009, 3h24
I tried to make a chart of who my favorite composers/bands were at different ages.
The format is:
Age - most favorite artist at the time (some others that I liked)
I'm 21 now.
10 - Green Day
11 - Metallica (Red Hot Chili Peppers)
12 - Metallica (Nirvana)
13 - Radiohead (Pixies, Weezer)
14 - Yes (Miles Davis, Pixies, Radiohead)
15 - Godspeed You Black Emperor! (Sigur Ros, Genesis, Radiohead, Yes, Miles Davis)
16 - King Crimson (Godspeed You Black Emperor!, Genesis, Miles Davis, Radiohead, Yes)
17 - Ludwig van Beethoven (Dmitri Shostakovich, Wolfgang Amadeus Mozart, Mogwai, Opeth, King Crimson)
18 - Ludwig van Beethoven (Mono, Sonic Youth, John Coltrane, Can, Béla Bartók, Anton Bruckner)
19 - Mono (Charles Mingus, Enslaved, Scott Walker, Sonic Youth, Ludwig van Beethoven, John Coltrane, Can)
20 - Merzbow (Keiji Haino, Talk Talk, Steve Reich, Evan Parker, The Velvet Underground, John Wiese, Mono, Can, Scott Walker, John Coltrane)
21 - Morton Feldman (John Cage, Arvo Pärt, La Monte Young, Luigi Nono, Giacinto Scelsi, Iancu Dumitrescu, Gérard Grisey, Tony Conrad, Charlemagne Palestine, Autechre, Merzbow, Keiji Haino)
Listening to Radiohead's Kid A when I was 13 was what got me interested in music in a serious way. My listening stagnated or regressed around the time that I was 19, but then I took some big steps during the last two years. I've said before that Merzbow introduced me to real music, and that's true in a sense. -
new artistic collaborations are possible with technology
Jun 4 2009, 8h25
Listen to this vertical thrash from John Wiese and Robert Johnson:
www dot mediafire dot com slash ?tnnyio2wz2z
I have to type it like that because last.fm sucks.
The Robert Johnson song is
If I Had Possession Over Judgment Day, and the John Wiese noise is from Black Magic Pond. -
silence and repetition
Jun 3 2009, 4h50
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a group that I might create that would be about timbre
Jun 1 2009, 23h30
I had been considering starting a group called something like "we listen to timbre". There is one similar group in existence, http://www.last.fm/group/Spectral+Music, and I don't like group redundancy, but spectralism seems to describe only one form of timbre-oriented music, others including acousmatic, noise, field recordings, lowercase, eai, etc.
This journal is basically brainstorming for me, but also please comment if you're interested in such a group (you want a place to discuss timbre in music, or to share recommendations, etc.).
A short list of artists, off the top of my head, that I associate with timbre:
John Cage
Giacinto Scelsi
Gérard Grisey
Horaţiu Rădulescu
Iancu Dumitrescu
Sunn O)))
Merzbow
Francisco López
Of course there are many artists who concentrate on timbre and harmony at the same time, or create a variety of harmonic and timbral works, in addition to those who are concerned only with timbre. The group would allow for discussion of all of those artists, but more importantly about sound itself. -
Oh my god, what kind of people use Rate Your Music
Mai 3 2009, 23h57
I just found the most pathetic reviews for the recording of La Monte Young's The Well-Tuned Piano:
http://rateyourmusic.com/release/album/la_monte_young/the_well_tuned_piano_81_x_25__6_17_50___11_18_59_pm_nyc/
Regardless of their ratings, those people don't know what they're talking about. These comments are wonderfully and hilariously ignorant:
"The roots of minimalist drone can be found here"
"Who has honestly listened to this whole thing straight through besides Young himself? Anyone?"
and
"even better if you listen to all the five parts simultaneously"
I guess I should put a good review on there to sort of help people out. -
Denon AH-D2000
Abr 6 2009, 5h55
I just got these headphones yesterday. Wow! Wow! I love them! These are the best headphones that I've heard. I was in need of a good set of over-ear headphones. I had been doing most of my listening with Etymotic in-ears, and my other over-ear headphones are some mediocre Sennheisers. The Denons are supposed to be better with a dedicated headphone amplifier, and I don't have one of those. I thought I'd hear how they are right off of my sound card anyway. There's no problem, they sound perfect. I'm setting my volume around 10-15% of the maximum. The sound card that I have is a Creative X-Fi Titanium. Creative doesn't seem to have the best reputation, but this card is pretty much their best one, and I get really good sound out of it. I can hardly imagine getting anything better than this.
Artists that I've listened to so far with these headphones: Robert Johnson, Merzbow, Pelican, Boris, Iancu Dumitrescu, Charles Ives, Evan Parker, Jon Hassell, Otomo Yoshihide's New Jazz Quintet, Scott Walker
All of these have improved in their own way. The electroacoustic mixes of Yoshihide and Jon Hassell are much more clear. Merzbow's electronic noises have more detail. The strings in Ives's "The Unanswered Question" sound exactly as they should: beautiful and terrifying. I can hear the space that Evan Parker recorded in, and I don't miss a single detail of his playing. Scott Walker's voice has become strangely corporealized for me, because I can hear the small sounds made between his lips and in his mouth and throat; the other sounds in his music have more detail as well. Robert Johnson's guitar even sounds better, with the little sounds that he makes being transmitted as clearly as they ever will be. -
The Well-Tuned Piano 81x25 6:17:50 - 11:18:59 PM NYC
Dez 7 2008, 4h35
About a month ago, I bought the CD boxed set of La Monte Young's "The Well-Tuned Piano 81x25 6:17:50 - 11:18:59 PM NYC" over EBay. I hadn't heard the piece before, but I had heard a few of his pieces of drones and sustained tones, and I had read a whole lot about him. I ended up paying about $400 for it. I was expecting it to go to $500, so that was all right. I'm not wealthy, but I believed it would be worth the money, and it was.
I just listened to it for the first time today, and it was wonderful! Lately I've been using my portable digital player from Cowon for most of my listening, so I had ripped the CD's and put them on there in FLAC format like I've been doing for everything. During my listening to the piece, I took a break of about a half an hour at the point between the second and third CD's, mostly because my in-ear Etymotic earphones were kind of bothering me.
I had been planning all week to listen to the piece today, so I had been anticipating it all that time. I couldn't wait to hear it, but I was also afraid of how I would respond to the duration of it. The longest musical piece that I had listened to before was Philip Glass's "Music in Twelve Parts", which is about three and a half hours. However, I had even taken a break or two during that piece, and I'm still planning on going back for another listen sometime soon. Anyway, I'm pleased to be able to say that the five hours did not feel like too long. In fact, as the final hour was winding down, I had that feeling that I would love it if it lasted even longer. Of course, I took a break in the middle, so my attention was only tested for the three hours after the break, rather than the full five hours at once.
The music of "The Well-Tuned Piano" is wonderful and consistently beautiful. The composition consists of sections and subsections that do not come in a fixed organization. Rather, La Monte improvises during each performance to choose the sections to play, and in what order or with how many repetitions. The impression I got of the music was of waves of changing density. His playing moves between a one-note-at-a-time andante to a dense cloud of rapid key strikes, reverberations, and overtones. The dense sections were usually more enjoyable, but the calmer sections were equally welcome for all the functions they serve in mood, dynamic contrast, and modulations. A striking quality of the music is how it maintains a peaceful and meditative mood no matter how active it is. There's not really a lot of tension, but this is music of rich moods and expansive dream worlds.
Concerning the quality and timbre of the sound, I got the impression that this is what a piano should sound like. The piano had a clean ivory and wood sound, and it didn't sound stuffy or too warm. The recording sounded like I was sitting right there on the bench next to La Monte. The only detrimental sounds were the ocassional noises that got picked up, mostly from the audience--several coughs, a sneeze or two, and a few mechanical rumbles and squeaks from the building and outside.
I'm thoroughly happy with this recording and glad I gave up those $400. It's a new favorite, and I see myself in the future listening to it once or twice a year. I'm not sure whether I'll indulge in another listen sometime this winter or wait until the spring to enjoy it again. While listening to it today, I was sitting on a couch and looking at the changing lights from the Christmas tree my family had set up and another strand of lights on the wall. It was a good environment, and it seemed to me a perfectly satisfactory substitute for Marian Zazeela's "Magenta Lights". In the springtime, I want to listen to it while lying outside under a tree. -
a Van Halen/Merzbow mash-up
Out 9 2008, 8h45
Some time ago I found an mp3 of the vocal track from Van Halen's
Runnin' With the Devil. So, I listened to it again and decided that it would be accompanied well by a Merzbow track. Also, I haven't even heard the Van Halen original, so all I'm familiar with is this track on which Eddie Van Halen sounds like a crazy homeless person on the street, like Wild Man Fischer or something. I mixed it with the Merzbow track Black Flesh PT.1, a short track that has chicken sounds in it.
Last.fm says the link is "spam", so, copy and remove the spaces:
www . mediafire . com/file/neewmdrzdzk/Black%20Flesh%20Pt.%201_Runnin'%20with%20the%20Devil.mp3
it's 3:49 and 7.2MB -
musical emotions profile
Mai 31 2008, 16h54
An advertisement for this site has been showing up here. It's www.musicalemotions.org. It promises a kind of test of your music-evoked emotions. The test asked me to listen to a piece of music that I like, or "that seems of particular emotional interest to [me]." Then I rate how much I felt various emotions from a long list.
I decided to listen to Mono's "Lost Snow". I listened two-thirds of the way through before starting to fill in my reactions. There was a space at the bottom to fill in any emotions that I felt but were not on the list, possibly for them to refine the test later. I put in "passion" and "compassion".
Following is my results page. It describes the groups of emotions that I identified most strongly.
"Your musical emotions profile
(there was a bar graph here that listed the following emotions)
General description of the various musical dimensions
Wonder: Feelings of wonder are related to experiences of admiration, enchantment, astonishment, marvel in front of anything very impressive such as the beauties of nature, of art or of more specific phenomena such as a child prodigy or a pathbreaking scientific discovery. Why music evokes this emotional response quite frequently is at present not fully understood.
Transcendence: Experiences of transcendence contain feelings of deep inspiration often combined with feelings of awe, of humility and reverence in front of something perceived as big. These experiences can, but do not have to imply spiritual feelings. As noted by the famous psychologist Abraham Maslow, music is one of the most effective means of inducing feelings of transcendence.
Longing: Is a feeling experienced in relation to something or someone that is strongly valued or desired but absent. Nostalgia tends to occur in relation past valued experiences, while longing is more typically directed towards a desired but not (yet) existing future. Longing is often experienced in relation to a loved one, but can also be “free-floating” in which case it may be best described as “the desire for desire”.
Tenderness: This is a state in which one feels soft, gentle, in “caressing mode” as it were. Feelings of tenderness are intimately related to feelings of love, affection and warmth.
Peacefulness: Reflects the experience of tranquility and serenity and the total absence of emotional turmoil. This experience relates to the well-known calming, sedative effects of music. Despite their apparent dullness, these feelings can be quite intense when experienced as a positive dreamlike state of contentment – a much sought after experience in human life.
Power: Refers to feelings of triumph, heroism, and “grandeur”. Music does have a mysterious transformative power to make us feel strong, great, and self-confident even when our day-to-day feelings tend to be fragile, dull and not empowering at all.
Joyful Activation: Feelings of joy, enthusiasm and happiness are self-explanatory and anyone who listens regularly to music knows these feelings. Sometimes these feelings mobilize our motor system and we feel like bouncing, tapping or dancing to the music. Therefore we refer to this state as joyful activation.
Inquietude: Even though most music-related feelings tend to be positive, some kinds or twists of music can trigger feelings of nervousness, agitation, irritation and even aggression. When in a rebellious state of mind, these feelings can be sought after or even enjoyed as tends to happen particularly during adolescence.
Sadness: The sadness evoked by music tends to differ from the sadness of our day-to day experiences. The latter tend to be aversive – something we wish we could avoid. In contrast, the sadness evoked by music is one that, on balance, we are able to enjoy. It is as if the music allowed us to experience the pure feeling of sadness, stripped from the aversive experiences of defeat or loss that accompany its appearance in everyday-life."
I found interesting the descriptions of how we experience these emotions during music. There's not much more to the results than that, however. What would also be interesting would be a look into the differences among people in how they react to music and describe their emotions. To what extent to we differ in what emotions we prefer to feel during music? How much do people vary in the emotions they experience from the same piece of music? How much of that variation would be attributable to different ways of putting words to the emotions? Etc.
I recommend the test even though the results may be lacking in insight. I'm especially interested in other people's results.