Yeah, I just read a column in one of the music magazines that attributed the quote to Thelonius Monk, which is even further off.
kent williams -- [EMAIL PROTECTED] http://www.mp3.com/chaircrusher -- tunes http://www.live365.com/cgi-bin/directory.cgi?autostart=chaircrusher -- mix On Tue, 19 Sep 2000, Oliver Barkovic wrote: > This thread just proves that what Zappa said was right: > > "Talking about music is like dancing about architecture." > > But it may not have been Zappa..... > > http://home.pacifier.com/~ascott/they/tamildaa.htm > > Ollie > > darw_n wrote: > > > > To pose a question, do you have to know Mozart's backgroud to appreciate > > his > > > music? No. > > > > Actually, I dissagree, albeit it's not detrimental... > > > > People like Mozart, and even more notably Wagner, had political views and > > ties. The political arena was food for much of their music. In Wagner's > > case, he was an enormous anti-semit and German Nationalist, very important > > info when considering his works. Also, many of the classical greats were > > commisioned to compose for usually a national cause, a celebration of the > > nobility, so a lot of work created was done so in the constraints of the > > nobility. You can appreciate the work yes, but when the peice was created > > as a political tool, then that becomes just as important. With techno, we > > have really no real political-social purpose, and we've done so for nearly > > 15 years now, very unique in art... > > > > > for the most part I find that artist's > > > don't want you to realize what they see in their music, but want you to > > find > > > your own interpretation. > > > > > > > Idealy yes, but many artist's rather self-agrandizing and pompus behavior > > would signify otherwise... > > > > > Truth be told most artists find their music to be flawed in some way upon > > > retrospect (wishing for the ability to take back the work and complete > > it). > > > While we the listener will see the music as unflawed (complete). > > > > hmmmmmmm, I like that, definately interesting... > > > > > > > > To add to Darwin's argument, perhaps the experience of Toneshifting is > > > momentary. Here are my thoughts. As humans we are engulfed with a high > > > level of stimuli daily. To experience toneshifting (low stimuli) is novel > > > and for a while we enjoy the experience. But in the end we want to return > > > to our normal level of stimuli (which is high). > > > > Not totally true, although close. In the more extreme cases (such as much > > of the art community), there is comfort at the low stimuli level and > > seclusion, anything above that becomes a ready seed for social anxiety, thus > > they return over and over to minimalist introverted states, thus explaining > > the utter militant anti-trance devotion of some to "pure" stripped techno... > > > > > > > > I experienced this for a number of years, wherein all I would listen to > > was > > > minimal techno. > > > > When I use the term "minimal", I don't neccessarially limit myself to Dan > > Bell and Co. That's why I like to used the term "stripped", the reason > > being is that most of the really powerful toneshifts can occur in say that > > weird thing called Swedish techno or similar. Basically my rule to > > repetition that music within the contraints of about 2 bars, or there about, > > and usually no lyrics... > > > > darw_n > > > > "create, demonstrate, toneshift..." > > http://www.mp3.com/darw_n > > http://www.sphereproductions.com/topic/Darwin.html > > http://www.mannequinodd.com > > > > --------------------------------------------------------------------- > > To unsubscribe, e-mail: [EMAIL PROTECTED] > > For additional commands, e-mail: [EMAIL PROTECTED] > > > --------------------------------------------------------------------- > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] >
