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Tue, Jan. 20th, 2009 02:53 pm
The Music Genome Project on Coming in a Girl's Mouth

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imomus
imomus
imomus
Tue, Jan. 20th, 2009 06:30 pm (UTC)
Re: fucking brilliant

I would argue that the words would only suggest "a" music to you and and not "the" music.

Oh, sure, that's a given. It would be strange indeed if a sentence brought forth an obligatory melody! What's more, you sing a phrase over a chord change and then you change both the phrase and the melody, and then possibly the chords too. At a certain moment everything is fluid, and everything is capable of effecting changes on everything else.

As far as the through composition in Coming in A Girl's Mouth is concerned (and I love how that title keeps thumbing its nose at the academic tone of our discussion of it!), that particular style was really evolved to convey literary texts; it subordinates itself to the flow of their meanings, emotions and inherent (though not obligatory) melodies. I don't think this is a "Romantic" explantion; it's a historical consequence of the evolution of the through composition style, which is a sort of discreet butler or valet to the literary text it serves.

The sense in which "meaning controls the relationship between content and form" in my work is made a bit more complex when you take into account the things I'm talking about in this dialogue, which basically says that if you cut deep enough into content you find form, and if you cut deep enough into form you find content. Even humanism, in this essay, becomes something you might be able to see on a spectrograph; a particular shape of sound. This, too, is something I'm hopeful machines will be able to tell us about in the future. I think they'll make great music critics!


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