Respond to this
Re: MODES MODES MODES
4/8/2001 3:08 PM
Doug McMullen (6014) wrote:
Materials and Techniques of 20th century music??? LOL. I've written one of these myself, it is substantially more complete. Here's is the full text:
"Sound, silence, everything in between."
I haven't read Kostka's book but that appalling title makes me laugh, really.
I'm curious, does Kostka's book include amplifier feedback (cf. James Marshal Hendrix) or humor? (Cf. Erik Satie's scored indications for the pianist to run around the piano. Or Fats Waller's tempo indication for "The joint is jumpin'" --> Tempo Disturbo da Neighbors).
Does Kostka's book include the Jipang Karaton of Bali, or the forms indigenious to the applachian mountains (sacred harp, etc. etc. etc.) or DJ scratching, or John Fahey's uses of his old 78s in the Molly Requia? Is sampling and waveform manipulation in there as the perhaps most important technique to emerge from the 20th century -- because to me looking forward it appears it may become so?
Does this 20th century Kostka has apparantly theorized for you include anything other than the music officially sanctioned by the scholars of the Western acadmey? These guys still haven't given up on Schoenberg and the 12 tone row. Despite the fact that a teeensy number of people find it anything more than an intellectual pastime. Schoenberg is still considered by these fellas an "IMPORTANT" composer. Ya can't get your music ph.D. without facing down the dissertation committee and answering a lot of questions about Schoenberg and Alban Berg, when in fact neither of them are by an objective standard much more than musical curiousities.
The acadameicians aren't more learned, they're just in a world of their own. A world where no true sound can escape their deadening pontifications. (In general, some of these guys and gals actually have a clue and can laugh at the whole silly mess... those are the ones that tend to be able to write something worth listening too, not coincidentally).
The Atomic bomb over Hiroshima was loud and had deep emotional impact. It was extradordinarily communicative. It's one of the worst pieces of music ever played IMO. Ditto for the hissing of the gas from the shower heads at Dachau. The 20th century is bigger than Kostka's book, I assure you, and so is music.
Minor thirds? Golly Theresa, what are we using that utterly outmoded means of describing music for anyway. Sheeesh. This HAS GOT TO STOP. PLEASE STOP USING THIS LUDICROUS MISGUIDED TERMINOLGY. Let's talk only set theory!
[The following is plagarized from an online source:]
---->Interval. The distance between two pitches. In set theory intervals are measured by the number of semitones. Thus, CE is not
a major third (M3) but 4 semitones, or simply 4. A minor sixth would be 8.
Interval class (ic). The distance between two pitch classes, measured by the shortest distance. C to G may be the interval of
7, but its interval class is 5. Thus, the largest ic is the tritone (6).
Index number. The transposition number, in semitones, above a reference pc. P5 would be a transposition up 5 semitones
Modulo 12 (mod12). An arithmetic system nearly identical to that of a clock, where 13=1, 14=2 etc. However, in modulo 12
the number 12=0. If we want to know what 2 hours past 11 is (11+2), we say it is one o'clock (1). Thus, in mod12, 11+2=1,
and there is no number greater than 11.
Normal form or normal order. A cyclic permutation of a pc set arranged in ascending order as compactly as possible with
respect to the first pc. Each pc is represented by a pitch number in the absolute-do system. The normal order of an F major
chord would be 590.]
OHHHH damn.... I just spent 10 years studying set theory and how to figure out forte primes and solomon primes and then my finger slipped on a string and both bent and vibratoed a note and it's upset all my calculations!
Oh an about that non existent pentatonic minor third. I mean, we're in a standard tempered tuning, right... 12 root of 2 and all that right (although I've refiled some of the upper frets on my guitar to sharpen them a few cents... they used to make a guitar that did this for you, but there wasn't enough market demand)... at any rate so many of these intervals are so mathematically imperfect I'm not sure what to call them. To talk only about things that exist, really exist, maybe we should just exchange .gifs of waveforms.
I can sling this BS with the "best" of them. Funny tho, it doesn't make me a better guitar player/musician. Actually thinking and listening has helped enormously, tho.
An obnoxious post? Yeah. Deliberately so. You're attitude bugged me.