Toward an Empirical Music

Music is about people listening to sound forms out of a desire to satisfy THE EAR. I prefer this hedonism to the puritanical rejection of it.
THE EAR holds the supreme place. It has it own domain independent of and thus not subservient to other mediums and disciplines. To the argument that all is Political or Philosophical, I answer that all is Musical. THE EAR has its own worldview, which might be its ‘tastes’. Yet these ‘tastes’ have nothing to do with ego. We are here finding out what it can tell us. It is not the slave to other disciplines.
What we know of the Ear is by empirical experience, not through rational means, although the two often, but not always coincide. And it is here that music has gotten itself into trouble.
As music took on more ambiguous forms, it became possible for rational methods to produce satisfactory results yet strayed from the empirical experience. In other words, ‘what worked’ had been found as a byproduct of the rational but did not rely on it. Still the rational offered the opportunity of charting ways into unexplored territory, and rational methods will always be useful in this way. Since this ‘rational’ is associated with ‘scientific’ it became an end in itself, especially in institutions. Promising falsely that this art would and could become a ‘science’ or that a ‘scientific’ approach would be a path of progress. In fact this ‘diversion’ turned its back on the perceived and the experienced. Somehow the empirical child remained locked in the cellar. This has been the result of turning against the ear in favor of upholding a ‘rational method’ at all cost. The question should always be why something works or not.
It is not that the ear is irrational, quite the contrary. Empirical approaches have led for instance to how rational numbers coincide with harmonics and in turn influence the formation of chords. Patterns in scale formations have also been discovered. Yet even here, there has been resistance in realizing that other harmonies or scales in the world are equally based on other acoustical phenomena. This has been done empirically in the field, I might add, by less “scientific” cultures. It is this arrogance and bias toward viewing these cultures as underdeveloped that marks our own dark age.

Let us look at some false assumptions that persist owing to a ‘rational’ approach:

1. Good (logical) ideas = good music.
Good (logical) ideas and syntax are no guarantee of good music. Many great and transcendental works have been based on simple or little ideas. Philosophy has been useful, yet empirically it has manifested as varied forms of sonic monotheism. The concept of total freedom has empirically produced little beyond the sonic domain already in place. With the hippies, you could do anything but you better stay in the key; atonality is a mere extension of this concept to more pitches. Like a swarm of gnats, each is free to do what they want as long as they turn back if they go too far. We need not look further than other cultures to see exactly what musical realities it does not envision. It is only by imitation that it would ever be approached. Not that we are against the free idea, but the empirical results have not led to a free music. How one would get there remains to be seen. It seems best to follow the extent of where the ear has to lead us before we get rid of it.

2. Interesting rational methods/processes = interesting/compelling music.
Interesting rational methods and processes are no guarantee of interesting or compelling music. Often very different and complex methods will produce sounds that are indistinguishable from other methods often banal in methods or sound. Some of the most engaging and mysterious examples of music and timbre we find around the world are created by some of the most simple (yet we must add refined) ways. Hence there are opposite approaches whose interest cannot be attributed to the process.

3. Complex music = developed music.
These are not synonymous. The empirical difference between the two lies in the capacity of recognition allowing an interaction with memory. Complex music (especially when ambiguous) will create divisions into sections in only the most simple and crude ways. It is only by changes in density, volume and timbre that any shape or form is realized. When these elements are static, it quickly degenerates into homogeneous fields of limited scope and expression. In a sense it is the most ‘primitive’ of music possible. In the past, complexity and development were capable of being realized empirically with the use of recognizable elements. This is due to the mere fact that the manipulation of these could be followed in more different and subtle ways. Yet we know that it is something we often can ‘sense’ or ‘feel’ more than define, and this subconscious recognition has yet to unveil its full horizon. It is this very area that the ‘rational’ is useful in giving us examples of both success and failure. It is time to assimilate what has already been done as ‘rational’ experiments, or perhaps that work will be in vain. It is without a doubt that ‘rational’ constructs have expanded the type and ways of unity in music that is possible. However, there remains a form of ‘higher unity’ that it cannot approach. This is found in the flow of one musical idea into another in an immediate way. The assumption is that it’s not possible to hear something internally that is not related to what we have heard or made before. And so be it if it is unexplainable. It is THE EAR and what it tells us, sometimes near yet sometimes far.

Arriving Instruments/Some Stray Thoughts

Our Instruments have arrived and are being put back together. When in Bali we acquired three mallets matching one we had that really brings out the tone of the Mt Meru bars. The bar themselves seem to resonate longer. I do not understand why this would be so, but there it is.
In the time that has past there have been some stray thoughts, which seem to stick that I thought I would share.

There is much criticism of a younger generation ignoring the older. Do they forget that they were the once who took an ahistorical stance. How can you expect to now become the “history” then? You threw that out.
Being the case it also put the so-called philosophies, regardless of their worth on the par with fashion. This is unfortunate. And as one who always had respect for those more experienced (maybe too much if anything) it is sad to see the constant reinvention that needn’t be. But we have different people doing music than before and this is something I will take up later.
On my rally against music being composed of 5 parameters, (which I think is a misnomer of what happens and from where it comes to let it lay) let me state that I have learned from Ayers what the relationship is. The parameters are what we need to “analyze” music and that is as far as the statement is valuable.
One comment on the roots of minimalism owing it roots to the total serialism and the freedom that allowed put forth by some. Frankly all it needed was the influences of Indian music, the capability of Tape Loops and Psychedelic Mushrooms. The former music was unneeded except as the making of so called ‘serious music’ irrelevant to the tribe of westerners. If anything all it did was create a vacuum. I still see this period as analogous to the “Ars Nova” with similar results. Brief then over and while we can still hear the noun from that time, the energy is not the same, it is merely the shell of what was, and not even done as well (which many have testified to.)

new simplicity

While it is fine to return to simpler material but must we return to the same ol' keys and related areas. What good is equal temperment if one has to return to "Mom" and the key of C. Why not use JI if you are only going to use a few keys then? If they would have started with F# as a home base i would respect them more, At least this would be expanding the use of instrumental color and our ears into ares we hear little music in. There is something "regressive" in the reluctantance to add any form of tonal expansion. god forsake we might progress in instrumental colour no matter how subtle.
Sorry music and art have no choice but to move forward regardless of the consequences.

Tatoo of Anaphorian Flag

We have been silent mainly due to traveling to the North American Embassy of Anaphoria Island. While on the street we ran across someone with a tatoo ( yes it is real) of the Anaphorian Flag. Before we left we found this person a good position in the Los Angeles Branch

An Appeal For An Appropriate Language in Musical Papers.

In recent months, I have enjoyed the experience going through the periodicals in a Library. The pursuit? What are human beings interested in its quest for knowledge and to what extent. Who would have known that so much of Geology would be preoccupied with Sedimentology? Who would have known that Timothy Leary was writing academic papers in the 90’s that are indistinguishable from his colleagues, except perhaps by the subject matter? Many (admittedly most) of these periodicals are impenetrable and impressed upon me the impossibility of what was once referred to as a renaissance man and need to add woman. The specialized nature spawned from the depth of each subject has made the inventory beyond what any of us even if it was a full time job with the worst of long hours. One wonders if it is in the future for a cross discipline interaction of say three subjects, even if they met, might not be beyond us because of the language each uses. And if we can, what language might be sacrificed in the process. Perhaps we cannot escape this entropy, and by that I do not mean a homogenous randomness, but many irreconcilable “orders”. Can we escape such a tower of Babel?

One still learns something even if one is over their head. One is how each subject uses and develops a language that can make even the Table of Contents daunting. Often though, I would be struck by some turn of phrase, some flow of words that seemed, almost poetry. Some subjects, certain words are accented in a beautiful way and others react with the meanings in my own ‘specialization’. Perhaps in a worse case scenario, with such a gesture they might at least ‘touch’ each other. It was Joyce who said, “Gesture is the universal language”. Still science especially hopes for more.

Finally I got to familiar ground (or so I thought) with the music periodicals. To its credit, the styles and use of language varies greatly. Still there were those, or various authors whose style one cannot tell from some of your more scientific papers. You don’t find this with visual art (the worse of double talk and a subject I will spare you from going on at length), poetry, dance or theater. In fact, it is the only art where you find such things. It is true that music has its relationship with math, but to sacrifice most traces of what is one might identify, as ‘musical language’ is inappropriate. Music is closer to the other arts, and I think it should reflect that. Science perhaps sees art as one of those areas that resist it most, but if ever if it could make it territory (which I surely doubt), the subversion of art’s dialog is underhanded. It may even in the future put forth what it deems art for the mere purpose of preventing art from happening, but will find it difficult to hold this ground.

Review Berlin show in The Wire

(could not seem to post this otherwise as it became too small to read)

http://anaphoria.com/WIREreview1.jpg

Parameters Phenomenological

time to banish
that superficial five
gimme
essences of our experience

texture to pitch
perhaps both shape
cell, organ
not life omitted atoms

melody is motion
intact resonance
complex
held energies

as weight or depth
stays color/harmony
emotion
defines more than

logics thin surface