Re: " 'IT' " &" 'THAT' "/ No ear... less rhythm!

[Kraig Grady:]
>I can understand that sometime structural possibilities are the propelling
compositional force but how can you take the first step unless you
understand or attempt to under what it is you are hearing.

What I'm 'understanding'/'misunderstanding' as (a 'musician' and a
'composer') has (for me) only my internal sense of the conditioned and the
congenital ("that's 'it,'"/"that's 'not,'" "I'm not satisfied with
'that'"/"I'm satisfied with 'that'") to answer to... Attempting to further
understand (/justify) the aural causation's and inherent structural
possibilities and limitations (of "'IT'" and "'THAT'") is (for me) largely
an extra-'musical' endeavor. When it comes to the strictly quantifiable
structural components of music, I really can't see any (reasonable) reason
why a potentially useful method/tool ["Natural, reasonable, and inherently
pleasing..."/"Easy, convenient, and without logical aural causation..." -
or not] wouldn't-shouldn't-couldn't potentially be put to good ('musical')
use by someone somewhere.

Dan

"D. Stearns" wrote:

> From: "D. Stearns" <stearns@capecod.net>
>
> [Kraig Grady:]
> >I can understand that sometime structural possibilities are the propelling
> compositional force but how can you take the first step unless you
> understand or attempt to under what it is you are hearing.
>
> What I'm 'understanding'/'misunderstanding' as (a 'musician' and a
> 'composer') has (for me) only my internal sense of the conditioned and the
> congenital ("that's 'it,'"/"that's 'not,'" "I'm not satisfied with
> 'that'"/"I'm satisfied with 'that'") to answer to... Attempting to further
> understand (/justify) the aural causation's and inherent structural
> possibilities and limitations (of "'IT'" and "'THAT'") is (for me) largely
> an extra-'musical' endeavor. When it comes to the strictly quantifiable
> structural components of music, I really can't see any (reasonable) reason
> why a potentially useful method/tool ["Natural, reasonable, and inherently
> pleasing..."/"Easy, convenient, and without logical aural causation..." -
> or not] wouldn't-shouldn't-couldn't potentially be put to good ('musical')
> use by someone somewhere.
>
> Dan

As intonation evolves toward an analogous polytheistic endeavor of multiple
beginnings via scattered individuals, this reality will seed observations that
can ( and at times should) be from a single perceptive that realizes
circumstances potentially enantiodromatic* in nature.

*enantiodroma- the evolving into the opposite- from Carl Jung
-- Kraig Grady
North American Embassy of Anaphoria Island
www.anaphoria.com

[Kraig Grady, TD 166.19]
> As intonation evolves toward an analogous polytheistic endeavor
> of multiple beginnings via scattered individuals, this reality
> will seed observations that can ( and at times should) be from
> a single perceptive that realizes circumstances potentially
> enantiodromatic* in nature.

I think this is something that could be said to be true not
just for intonation, but for many aspects of contemporary life,
if not for contemporary life in general.

Vast arrays of perceptives and perspectives are converging
in ever faster temporal frames, causing multi-disciplinary
ideas to mingle and spawn new ideas, many of which can be
characterized as enantiodromatic.

And of course, it's a process that will not reverse, or even
slow down, but will continue to multiply and increase exponentially,
barring some drastic planet-wide catastrophe.

The reflection of this in the intonational sphere is but one
embodiment of the general situation.

Joseph L. Monzo monz@juno.com
http://www.ixpres.com/interval/monzo/homepage.html
|"...I had broken thru the lattice barrier..."|
| - Erv Wilson |
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