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Comment by Steve Moshier on April 1, 2009 at 2:12am

" I began with a small audience and I'm going to end up with one" - Morton Feldman (Introduction to a performance of Philip Guston)

Comment by adam kondor on March 14, 2009 at 4:19am

I've reduced lately my 'don't's' to this one: "don't make harm to others"
(though it doesn't mean that I'm harmless! far from that)
ฟฝ St M: "So there's the 'do's' and the 'don't's' and the 'don't's' hate the 'do's' and the 'do's' hate the 'don't's': so what the fuck?" ฟฝ

Comment by Steve Moshier on March 14, 2009 at 3:38am

So there's the 'do's' and the 'don't's' and the 'don't's' hate the 'do's' and the 'do's' hate the 'don't's': so what the fuck?

Comment by Steve Moshier on March 12, 2009 at 3:14am

So "Sparky" You're Fucking Crazy!

Comment by Steve Moshier on March 6, 2009 at 8:21pm

Don't we wish all news programs were like "SFS"?

Comment by Steve Moshier on March 6, 2009 at 3:41am

SFS!

Comment by James Ross on February 22, 2009 at 10:36pm

I was teaching today, and was helping a student work with John Fahey's "On Doing an Evil Deed Blues." I told him, "This music will change your life." I stand by that.

Comment by adam kondor on February 22, 2009 at 3:11pm

(copied from an other thread)

"but by doing so we live outside what we do" - THAT's the point at the end of the sentence!
("By living under a giant "?" we might challenge ourselves to work toward meaning and hope for the 'intellectual force' that will 'move nations and change history', but by doing so we live outside what we do.") - This seems to me quite an important thought.
Just like this one (by Jeff):
"I suspect most of us composers got into this art because we like to see ourselves being transformed by music. Our before and after states are inexplicable, indescribable and unknowable except to others who have themselves born witness." Very good! The risk and the adventure of transformation is an indispensable part of the story, sure! (How this relates to Steve Moshier's question about repetition?)

But I also agree with Greg: "if music does stimulate associations through a resonance system then expressing profound emotions via music is possible AND encourages the experience of those emotions. That has to be good as far as I am concerned."
(There is nothing dangerous in scientific reductionism, because its scope is always limited. Knowledge will never discredit the validity of feelings and experiences.)

Dennis Bathory-Kitsz said:

I've copied and saved the whole post. It's probably the best summary of the question, something to take to those folks who want proof. I don't normally like "not proof" but this is good. Thanks much.

Comment by Johnny & Faith on February 22, 2009 at 9:36am

Thanks for the invitation, my friend! I really do enjoy this place more and more. Friendly and HUGELY informative.

Comment by Riccardo Massari Spiritini on February 22, 2009 at 7:31am

Interesting to read.... Dane Rudhyar, from an article intitled "going back in music , to where?"

"But the point is that at present our main task is to be
pro-creators and educators — or else helpless babes running
wild into the jungle of cultural forces, at the mercy of any
collective emotional current, nationalistic, religious or what
not. In other words if we want really to build a musical
culture on real Foundations we must know the Laws of
building, the Laws of the materials we, use, the Laws of
Harmony, not in a textbook sense, but in a cosmic sense as it
is revealed to us by Nature philosophically understood. We
must STUDY, not European theories about music, but MUSIC,
in a permanent, changeless, universal sense.
And that is another way of "going back." Because in all
ancient civilizations, those who took upon themselves the
great and momentous responsibility of producing music for
their race, knew the laws of music and sound, or at least as
much of those laws as was possible to know. Go to India
before the decadence, to old China, to Egypt, to the Greece of
the time of Pythagoras, and you will find that there music was
built on knowledge, philosophical and even occult knowledge
of the nature and potency of Sound.
We want to "go back" to that knowledge; for it is only on
that rock of knowledge that the foundations of the New Music
of and in America can stand.
Europe stands back of us who see towards the dawning
sun; for there are moments when the sense of rotation
changeless, as the Far West becomes the Far East. The source
of Europeanism is as true as of any civilization; but this
source was Asiatic, was Syrian. Even the Greek Pythagoras
was born on Asiatic soil; so the great musical Gnostic, whose
name ought to be revered as the name of the Father of
Christian European music, Bardesanes or Bar Daisan. The true
Europe was the Europe of the heretics, of the rebels who
were persecuted, killed, defamed. It is this Europe of rebels,
unorthodox, hunted down Europe which founded the United
States. That was the real Europe."

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