Message-ID: <alpine.NEB.2.21.1801111028120.13929@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: Parlor Guitar with Qin and Pipa Aesthetics
Date: Thu, 11 Jan 2018 10:31:11 -0500 (EST)
Parlor Guitar with Qin and Pipa Aesthetics http://www.alansondheim.org/racquet.jpg http://www.alansondheim.org/racquet.mp3 http://www.alansondheim.org/racquet2.jpg http://www.alansondheim.org/racquet2.mp3 Martin 1917 parlor guitar, somewhat 'noisy' with square-cut frets that buzz, with very low action that rattles somewhat, and with very low tuning. I played through and with the sounds of fingers and hand and nail, the pressed strings, and the beautiful hollow resonance of the instrument. I considered these sounds part of the improvisation, much as string-finger sound is integral to qin music, a dialog between the 'noisy' physics of the world and an idealized project that now incorporates these physics. This isn't modernism, isn't 'pure' music, but includes Cageian noise in relation to sound practice, within a habitus of musician, instrument, and the construction and constitution of the possible and its manifolds.