Keenan Ketzner - Sinuet No. 1
The Printing Spool - Wounds from Washing pt. 1
(repost from sometesserae)
2012/05/17
2012/05/14
2012/05/13
05/13
The same yellow sun falls upon hands as bandaged fingers work together a tea bag, the little folded paper itself reused from an old store-bought brand and filled with scavenged plant or food parts—heads of spring flowers, bits of tree moss, crumpled fallen leaves, old coffee grounds, crushed sugar cane—to be soaked in boiled water with the morning sounds of whispering wind, talking birds, and an early drum-and-synth Kraftwerk record (one of the three that never made it to an official digital release—not that I would have bought it on CD anyhow; the decrepit music industry deserves none of what little money I do have). Seth is upstairs, still asleep. Work's not for another couple hours, but I like to prelude the day with a process of body-and-soul rejuvenation, so that my withering human parts have a slight chance of withstanding the rigors (ie: thought, labor, stress, social interaction, drug use), they soon will very likely be put through.
With the tea poured and the LP flipped, I clear a space on the book-and-ashtray-covered table to set the bird's-egg-blue typewriter; I haven't felt this clear-headed in some time, and fleeting moments like these must be taken advantage of before they are forever lost.
Through the kitchen's sliding glass door, in the back yard I see a pair of deer, moseying through tall grass, lounging in sunlight, munching on the heads of dandelions.
The same yellow sun falls upon hands as bandaged fingers work together a tea bag, the little folded paper itself reused from an old store-bought brand and filled with scavenged plant or food parts—heads of spring flowers, bits of tree moss, crumpled fallen leaves, old coffee grounds, crushed sugar cane—to be soaked in boiled water with the morning sounds of whispering wind, talking birds, and an early drum-and-synth Kraftwerk record (one of the three that never made it to an official digital release—not that I would have bought it on CD anyhow; the decrepit music industry deserves none of what little money I do have). Seth is upstairs, still asleep. Work's not for another couple hours, but I like to prelude the day with a process of body-and-soul rejuvenation, so that my withering human parts have a slight chance of withstanding the rigors (ie: thought, labor, stress, social interaction, drug use), they soon will very likely be put through.
With the tea poured and the LP flipped, I clear a space on the book-and-ashtray-covered table to set the bird's-egg-blue typewriter; I haven't felt this clear-headed in some time, and fleeting moments like these must be taken advantage of before they are forever lost.
Through the kitchen's sliding glass door, in the back yard I see a pair of deer, moseying through tall grass, lounging in sunlight, munching on the heads of dandelions.
2012/05/07
05/07
There is more to music than notes and beats, scales and signatures, bars and clefs. The transcription of music is a mere technical way of remembering or learning the components of an essentially abstract substance; it is like using mathematics to describe the colors and scents of a flower garden. Full comprehension of modern music notation is less useful than memorization of the periodic table of elements or the first fifty digits of pi (just as reading a detailed list of chemical compounds would tell you nothing about what might happen if you were to ingest all of them at once). That's not to say the learning of music theory isn't useful or necessary; understanding the physical workings of tonal relationships is invaluable to the composition process. However, a method of notation that hasn't changed much since a century or two before the invention of electricity can hardly be seen as useful, practical, or at all relevant... and that alone is without having taken musical emotion, imagery, poetry, or spontaneity into account.
There is more to music than notes and beats, scales and signatures, bars and clefs. The transcription of music is a mere technical way of remembering or learning the components of an essentially abstract substance; it is like using mathematics to describe the colors and scents of a flower garden. Full comprehension of modern music notation is less useful than memorization of the periodic table of elements or the first fifty digits of pi (just as reading a detailed list of chemical compounds would tell you nothing about what might happen if you were to ingest all of them at once). That's not to say the learning of music theory isn't useful or necessary; understanding the physical workings of tonal relationships is invaluable to the composition process. However, a method of notation that hasn't changed much since a century or two before the invention of electricity can hardly be seen as useful, practical, or at all relevant... and that alone is without having taken musical emotion, imagery, poetry, or spontaneity into account.
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