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:: Posted by pacealot on February 02, 2014
I cannot help but comment on the A=432 issue. The Cymatics experiment video is interesting, and I’m not certain in what way Robert finds it "persuasive" (that is, persuasive of what?), but I simply cannot accept that there is some fundamental way that our arbitrary measurements of time and cyclical vibrations just happen to resonate with some cosmically correct pattern at one frequency more than at another. If it is aesthetics that are being discussed, I found the patterns generated by the notes at 440 to be just as "interesting" and "beautiful" as those generated at 432.
Given a semitone-based musical scalar structure, there are only approximately 25-30 cycles per second of variation from one semitone to another in the area of 400 Hz-ish, so at some point A=415 also means that A#/Bb~440, so transposing the "key" (which is invisible to the audience, unless they are following along with sheet music) results in the exact same pitch structure. If one with strong relative ("perfect") pitch sense has a relationship with one specific pitch reference, then things will sound "wrong" at another reference, if the person cannot let go of his/her preconceptions about the fixity or relativity of the pitches they experience.
For myself, as a person who supposedly used to have so-called "perfect" (but very imperfect) pitch before I gave up music, I find it all to be completely arbitrary. One may choose any pitch reference one likes, and support it with any factual information one chooses, but to use pseudoscience and nonsense to try to persuade people of an unsupportable position is ridiculous in general, and in my view, nowhere more ridiculous than in the field of "art". One could actually argue far more persuasively that artists’ canvases "should" be built to Golden Section proportions than that a musical reference pitch must be at a certain frequency. Personally, my position is that ALL music is ALWAYS out of tune, no matter whether A=440 or 432 or any other arbitrary number, or if one is using equal temperament vs. just intonation or some other scalar system, or any other factors. The simple act of putting vibrato on an instrument or a human voice immediately puts it "out of tune."
Far more interesting to me is the history of how and why the standard pitch reference has moved steadily upwards until the adoption of 440 as standard. That is, at least, an interesting study in sociology and mass trending patterns amongst concert hall performers and instrument manufacturers.
:: Posted by JeffTruzzi on February 02, 2014
Thank you for answering.
The Story of Pop..unportentious
:: Posted by AndrewJohn on January 31, 2014
No mention of our beloved KC on this early hours (old) show and as usual the BBC covered the obvious although the final Jethro Tull inclusion was interesting.
However great to see the coming release of Jack-knife on Burning Shed. Some great tracks on this, covers as well. Definitely of its time, but still a bit of an oddity. John Wetton is particularly at the fore, ’Adoration’ I find especial and ’Eyesight for the Blind’ is great.
:: Posted by Bakullama on January 31, 2014
This may have been surmised already, but are we going to hear some of this much spoken about "rough music" from the new lineup? Three drummers could create enough racket to run the bad eggs out of town.
Pitch/frequency and music tuition
:: Posted by J_Godfrey on January 30, 2014
Thanks to RF for sharing information on pitch frequencies (see Diary for 3rd January). Very interesting.
On another subject, I raised an eyebrow at the Adrian Belew interview by Basil Francis, when the discussion turned to learning and tuition. Francis said to Belew;
I certainly agree in that I’ve become a much better drummer since I quit my lessons. It had gotten to the point where I wasn’t learning anything and my drum teacher would ridicule me if I made the slightest mistake.
Of course, I’ve no impression of this individual’s playing and he might be superb... or the complete opposite! However, I would implore Francis to find another teacher and not entertain one who would ’ridicule’ mistakes!
Personally speaking, my own drum tutor was very inspiring and supportive. I have no doubt that without such support, I would have quit drumming.
Belew goes on to say; With time signatures though, it’s difficult to get someone to teach you that. Rock music that’s being played like that is still a relatively new thing when compared to jazz, so who’s going to teach you that?
I disagree passionately! A competent music tutor will be happy to educate and enlighten on the subject of time signatures.
Belew; A jazz drummer isn’t going to teach you to play prog rock.
I feel this is an inaccurate generalisation. Surely there are drummers who are competent at playing either ’style’ of music? Bill Bruford is quite hot on both.
Anyway, enough... This post isn’t meant to be a complete Belew-bashing - I hope no one interprets it as such - but it’s important to me to offer another opinion, should anyone here be interested!
RE: Fripp & Eno
:: Posted by Sean_Hollenhors on January 30, 2014
15.10 E-flurrying up-and-coming Fripp & Eno releases
Re: Roberts comments on being hustled
:: Posted by JoanBull on January 30, 2014
In my house, the living room is on the second floor and there are openable windows at floor level. When hearing an unexpected knock at the door, I open the living room window and speak to the hustler from there. This keeps us safely apart and seems to shorten the encounter.
Prog Rock with Fluff..The Story of Pop
:: Posted by AndrewJohn on January 30, 2014
1967 to 1971 is covered by Freeman in the early hours of tomorrow on BBC6Musc (Digital). Set your machines to record....something of significance to us may assault the late night ether of a historical nature to KC.....and may even be portentious of the music to come.......
:: Posted by Basile on January 30, 2014
Totally agree. To sing and play those time signatures at the same time...Belew has to be one of the great musicians of our generation! I also thought this was pretty cool.....
AB: I was attending a concert in New York City with David Bowie, it was a Steve Wright concert at a club called The Bottom Line. When the lights came up at the end of the show, David Bowie pointed over to another table and said “Oh, there’s Robert Fripp!” I didn’t even actually know what Robert looked like, even though I was a big Crimson fan. I said “Well I’m going to go over and say hello to him, and tell him how much I love King Crimson.” That’s what I did, and he wrote his number on my arm with a sharpie. It was there for months! He said “Please, give me a call, let’s get together and have some coffee or tea or something.” I think it was the next week or so in New York City, we got together and started being friends from that moment. I let him know clearly from the beginning how much I knew King Crimson’s music and how greatly I appreciated it. I think that got me right on his good side.
fripp and eno???
:: Posted by rja1967 on January 30, 2014
From Robert’s diary 10 January 2014:
15.10 E-flurrying up-and-coming Fripp & Eno releases. Preparing MinxLunch for 12.30 and MinxShopping.
Yes, yes, I’m sure lunch was lovely, but what’s all this about up-and-coming Fripp and Eno releases - plural! Are these reissues of previously released material, or, (my heart quickens...) are these something new??
Sid, are you able to tell us?
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