On music : essays and diversions, 1963-2003 (Book, …

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On Music: Essays and Diversions, 1963-2003

Get this from a library! On music : essays and diversions, 1963-2003. [Robin Holloway]

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An essay on patterns in musical composition. Music is a logical structuring like a mathematical proof of itself. In the substitutions and diversions. Read Diversions of the Field by Donald Culross Peattie by. Diversions of the Field contains a collection of essays tackling the. Sheet Music. Work on writing 500-1000 word essays about adventure and. Writing Workshop: The Adventure Essay, Frederick Reimers - Jackson Hole News&Guide: Diversions. Download on music essays and diversions in EPUB Format Download zip of on music essays and diversions Read Online on music essays and diversions as free as. Table of Contents * indicates. The Music of Poetry. Exercises and Diversions Essays and Poems 11. REMOVING THE NET: "Free Verse," Concrete Poetry.

The essays themselves on music essays and diversions all appeared in this 1741. 19th Century
Music 257 Neuroplasticity and Musical Gaming. Home . Schedule . Readings . Labs . Syllabus . Game On . Take Home Essays. Papers. Final Project. Fun Links. Diversions.

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Adorno begins with the insight that popular music is characterized by the synthesis of entertainment values and mass art. Twentieth-century popular music is mass art because commercial forces now produce it on an industrial model. It is a commodity aimed at the largest possible number of consumers. Therefore it must combine a high degree of standardization with relative accessibility, and so the same rhythms and structures appear again and again. Yet a constant supply of new “product” must be marketed to consumers. As a result, popular music competes with and replaces local and regional folk traditions (In the wake of the industrial revolution, genuine folk art is no longer possible.). In a commercial world where one popular song sounds much like any other, popular music cannot function as a medium of genuine communication. At best, a philosophically reflective stance sees that its standardization and commercial presentation reflects important facets of the socio-economic conditions that shape it. Its standardization reflects the alienating, oppressive standardization of modern capitalism. The momentarily pleasurable diversions offered by popular music are mere distractions from this alienation – a process that the music itself reinforces. Since it fails to satisfy any genuine needs, exposure to popular music encourages an endless repetition of the cycle of consumption, boredom, alienation, and fresh distraction through consumption.

Following the success of "On Music"; "Essays and Diversions Vol I" Robin Holloway's collection of writings covers a wealth of new ground

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We may push the same observation further, and may conclude, that, even when the mind operates alone, and feeling the sentiment of blame or approbation, pronounces one object deformed and odious, another beautiful and amiable; I say, that, even in this case, those qualities are not really in the objects, but belong entirely to the sentiment of that mind which blames or praises. I grant, that it will be more difficult to make this proposition evident, and as it were, palpable, to negligent thinkers; because nature is more uniform in the sentiments of the mind than in most feelings of the body, and produces a nearer resemblance in the inward than in the outward part of human kind. There is something approaching to principles in mental taste; and critics can reason and dispute more plausibly than cooks or perfumers. We may observe, however, that this uniformity among human kind, hinders not, but that there is a considerable diversity in the sentiments of beauty and worth, and that education, custom, prejudice, caprice, and humour, frequently vary our taste of this kind. You will never convince a man, who is not accustomed to music, and has not an ear to follow its intricacies, that a tune is not preferable. You have not even any single argument, beyond your own taste, which you can employ in your behalf: And to your antagonist, his particular taste will always appear a more convincing argument to the contrary. If you be wise, each of you will allow, that the other may be in the right; and having many other instances of this diversity of taste, you will both confess, that beauty and worth are merely of a relative nature, and consist in an agreeable sentiment, produced by an object in a particular mind, according to the peculiar structure and constitution of that mind.

Description Following the success of "On Music"; "Essays and Diversions Vol I" Robin Holloway's collection of writings covers a wealth of new ground.

Robin Holloway in front of his Cambridge studio front door (2016)

Description : This volume contains nearly all the criticism that Alexander Coleman wrote for The New Criterion between 1994 and 2003. A specialist in Spanish, Portuguese, and Latin American literature, Coleman was also a superb essayist on music, and his wide erudition, as revealed in these writings, demonstrates an easy mastery of the entire modernist tradition. Diversions and Animadversions is divided into three parts. The first contains Coleman's literary essays including a lengthy piece on Eba de Quieros, the great master of Portuguese realism, and shorter pieces on the Argentinian writer and Borges disciple, Adolfo Bioy Casares, as well as a review of the most recent translation of the poetry of Federico Garcia Lorca. Coleman's greatest passion, however, was for music, and part two contains essays, concert and book reviews, and reports on the cultural situation of music. Among the subjects examined here are the operas of Schoenberg, Berg, Richard Strauss, the recently published letters of Toscanini, the music criticism of Virgil Thomson, the fluctuating critical reputation of Jean Sibelius, and the authentic performance practice movement, along with considerations of such instrumentalists as Sviatoslav Richter and Alicia de Larrocha. The book concludes with Coleman's travel writings, which are both evocative mood pieces and incisive social and political commentary. Graced with personal appreciations by Roger Kimball and Denis Donoghue, this volume encapsulates the work of a writer of rare wit, capacious learning, and eager, if gently ironical, curiosity.