The Alan Sondheim Mail Archive

On */this/* music

Every session piece is equivalent to every other; every session piece uses
every conceivable note on the instrument; every notes sequence is adjacent
to every note sequence; playing fast eliminates thought; playing faster
transforms understood patterns into fast-forward bridging towards
unknowns; playing fastest suspends; scaled blur into arpeggioed chord
sliding; very low frequency radio atmospherics provide internal rhythm
speed at 1/1 wherever that happens; breath and finger/hand/arm speed limit
within the natural order of the body; broken listening breaks dual harmony
communality; parallel processing; quonset hut immediacy; some content
other than music/sound/entertainment/meditation/; close to passing out;
one take to the extent that another with the same structure/instrument/
scale is impossible/inconceivable; taking sound/scale/music somewhere
uncomfortable; taking it somewhere different/new/elsewhere/thoughtless;
aligned with physics not spirit; aligned with material/abstract culture;
speed past listening/discrimination/isolation; not relying on tonality/
tone color/texture; soft with amplification; not relying on electronics/
sweetening/echo blocking/reverb blocking/volume/distortion; not this/not
that; neural interconnectivity density matrices; acoustic instrumentation/
tending/materiality/antiquity; electronics as acoustics; acoustics as
electronics; vocalization/song as body indices; breath/rattling/string
sounds/comments/coughing/wheezing as body focus/presence/music-sound-
thought; determinant breath and muscle stretch; eyes shut/wide open;
listen/not listen; hear/not hear; see/not see; instrument fingerboard/
keyboard/woodwind keys/harmonica holes/xyz abc/soundboard as potential
field/ignored or cultivated attractors/intensifications and lassitudes/
hills and valleys/storehouses/patternings and gnarly-forms/nonforms/
structures and unstructurings-deconstructings; forms against forms/play
against play/history against history; what any organism might do; shame
and defuge in music/sound; second-person phenomenology of sound; death-
rattling; abject and depleted sound; dis/comfort and dis/eased sound; i
will sing my way out of death; i will sing my way into death; natural and
unnatural gestures; rasa theory of masquerade; performing rasa; undoing of
an audience; tending of nails/embrochure/lungs; riff memory under erasure;

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