Re: (313) Work posts and blank
LOL Exam time actually that's a great question I'd have to say that Detroit Techno and House is really good because it has the ability to tap into and extract some deep and personal emotions without being magniloquent and flatulent. It continues a musical tradition that has carried through the blues and jazz - blue notes, bent pitches, polyrhythms, syncopation, etc. but push it forward into the future with new technology. Even still, it translates back into traditional forms - the orchestrated version of Jaguar is a good example. All the tension is still there without any advanced technological instruments. It's timeless (for the most part). It has soul because those above elements somehow have the ability to speak to the soul. There is both sorrow and great hope and joy in the music. But the joy is not the syrupy type you find in many other styles of music. It's rooted in the sorrow. It knows joy because it knows the sadness. Plus you can dance to it without being all pilled up;) I think Detroit Techno and House should be sold next to James Brown, Al Green, Sun Ra, Thelonious Monk, Robert Johnson, Mahalia Jackson, and Kraftwerk of course. when will our grades be posted? MEK Maxim Sullivan [EMAIL PROTECTED]To: 313@hyperreal.org com cc: Subject: (313) Work posts and blank 12/10/03 07:29 PM WOW finally sorted out my e-mail after 4 years so I can post to the 313 from work!!! But I'll probably just lurk as normal :) err... to keep on topic um, Detroit Techno and House is really good because blank what's your blank on this subject? Maxim
Re: (313) Work posts and blank
I read somewhere (hmmm- Generation Ecstasy maybe?) that Trance music (with a capital T) sounds as if it is formulated on a grid system and is very regimented. Nothing is out of place and events happen in a grid-like pattern. Where as house and techno (and I'd put the emphasis on Detroit and D influenced) is much less so and there is space for improvisation and the unexpected. I think it was Reyolds who actually wrote the passage I'm thinking of - I'll see if I can dig it up MEK Michael.Elliot-Knight @fallon.com To: Maxim Sullivan [EMAIL PROTECTED] cc: 313@hyperreal.org 12/10/03 08:12 PMSubject: Re: (313) Work posts and blank LOL Exam time actually that's a great question I'd have to say that Detroit Techno and House is really good because it has the ability to tap into and extract some deep and personal emotions without being magniloquent and flatulent. It continues a musical tradition that has carried through the blues and jazz - blue notes, bent pitches, polyrhythms, syncopation, etc. but push it forward into the future with new technology. Even still, it translates back into traditional forms - the orchestrated version of Jaguar is a good example. All the tension is still there without any advanced technological instruments. It's timeless (for the most part). It has soul because those above elements somehow have the ability to speak to the soul. There is both sorrow and great hope and joy in the music. But the joy is not the syrupy type you find in many other styles of music. It's rooted in the sorrow. It knows joy because it knows the sadness. Plus you can dance to it without being all pilled up;) I think Detroit Techno and House should be sold next to James Brown, Al Green, Sun Ra, Thelonious Monk, Robert Johnson, Mahalia Jackson, and Kraftwerk of course. when will our grades be posted? MEK Maxim Sullivan [EMAIL PROTECTED]To: 313@hyperreal.org com cc: Subject: (313) Work posts and blank 12/10/03 07:29 PM WOW finally sorted out my e-mail after 4 years so I can post to the 313 from work!!! But I'll probably just lurk as normal :) err... to keep on topic um, Detroit Techno and House is really good because blank what's your blank on this subject? Maxim
Re: (313) Work posts and blank
here's a great passage from Deep Blues by Robert Palmer that I think can be applied to Detroit techno house Here he is addressing blue notes This is the expressive core of the hollers, work songs, spirituals that have not been substantially influenced by white church music, and later the blues, especially Delta blues. You can hear it, or suggestions of it, in African vocal music from Senegambia to the Congo, and it has special significance among the Akan-speaking people of Ghana, who suffered the depredations of English and American slavers through most of the period of the slave trade. Akan is a pitch-tone language in which rising emotion is expressed by falling pitch, and in Akan song rising emotion is often expressed by flattening the third. There seems to be a direct continuity between this tendency and blues singing, for blues singers habitually use falling pitches to raise the emotional temperature of a performance. Usually these falling pitches are thirds, but Muddy Waters and other vocalists and guitarists from the Delta tradition also employ falling fifths, often with shattering emotional effect. It's not a great leap to follow the tradition - MEK
RE: (313) Work posts and blank
Thx Michael. I need to look into Palmer's thought's (and maybe earlier sounds) as he was obviously a very knowledgeable bloke. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Thursday, December 11, 2003 2:38 AM To: Maxim Sullivan Cc: 313@hyperreal.org Subject: Re: (313) Work posts and blank here's a great passage from Deep Blues by Robert Palmer that I think can be applied to Detroit techno house Here he is addressing blue notes This is the expressive core of the hollers, work songs, spirituals that have not been substantially influenced by white church music, and later the blues, especially Delta blues. You can hear it, or suggestions of it, in African vocal music from Senegambia to the Congo, and it has special significance among the Akan-speaking people of Ghana, who suffered the depredations of English and American slavers through most of the period of the slave trade. Akan is a pitch-tone language in which rising emotion is expressed by falling pitch, and in Akan song rising emotion is often expressed by flattening the third. There seems to be a direct continuity between this tendency and blues singing, for blues singers habitually use falling pitches to raise the emotional temperature of a performance. Usually these falling pitches are thirds, but Muddy Waters and other vocalists and guitarists from the Delta tradition also employ falling fifths, often with shattering emotional effect. It's not a great leap to follow the tradition - MEK
RE: (313) Work posts and blank
Michael, Your answers remind me of the Gil Scott-Heron poem used on Moodymann's Amerika record--Bicentennial Blues. That line kills me when he says: The blues grew up, but America did not. How true Cornell West has also discussed the connection between African vocal traditions, slavery, blues, jazz, soul, He did an interview on Tavis Smiley's show a few months back where CW said something like: The blues has hope, not the pollyannic hope of pop music, but a mature hope, a blood soaked, tear stained hope. Well, I don't think I could explain any better what I appreciate about Detroit techno/house than that. Scott Ellis -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Wednesday, December 10, 2003 9:38 PM To: Maxim Sullivan Cc: 313@hyperreal.org Subject: Re: (313) Work posts and blank here's a great passage from Deep Blues by Robert Palmer that I think can be applied to Detroit techno house Here he is addressing blue notes This is the expressive core of the hollers, work songs, spirituals that have not been substantially influenced by white church music, and later the blues, especially Delta blues. You can hear it, or suggestions of it, in African vocal music from Senegambia to the Congo, and it has special significance among the Akan-speaking people of Ghana, who suffered the depredations of English and American slavers through most of the period of the slave trade. Akan is a pitch-tone language in which rising emotion is expressed by falling pitch, and in Akan song rising emotion is often expressed by flattening the third. There seems to be a direct continuity between this tendency and blues singing, for blues singers habitually use falling pitches to raise the emotional temperature of a performance. Usually these falling pitches are thirds, but Muddy Waters and other vocalists and guitarists from the Delta tradition also employ falling fifths, often with shattering emotional effect. It's not a great leap to follow the tradition - MEK
