1. class notes

    So when we’re historians of music, are we engaged in an “Over the Top”-style arm wrestle with another kind of autonomy? Between the historian and the musician/composer/music? Who gets the autonomy?

    Schoenberg says: “I discovered something, I’m not founding a school. All I found is that tonality has a life of its own, it goes its own way, nobody can control it. The material has its own tendency, so I need autonomy to be beholden to a process that is beyond me.” 

    Then a historian comes around and says, “No, this is fantasy, power dynamics, hegemony of German music, bound up in racial and ethnic history of the 19th century; Schoenberg is a Jew and his position/desire is to assimilate, and his personality as an iconoclast is important….. And I know these things because I discovered the material itself, it’s there, it has a tendency to tell the story by itself, I can’t help it, i’m beholden to a process beyond me…. “ 

     

  2. DECTalk gets Lacanian…

     
  3.  mama! papa! 

    (this laurie anderson paper is taking me to strange places)

     
     
  4. File under: “Babylon Sisters”

     
     
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  7. unintentional kenneth anger aesthetics all over this clip

     
     
  8. a voice, and… nothing more? (heavy keith jarrett vibes) 

    (Source: youtube.com, via weirdudenergy)

     
     
  9. continuo-docs:

    Ferruccio Busoni (1866-1924) – Entwurf einer neuen Ästhetik der Tonkunst (Sketch of a New Aesthetic of Music), written 1907.

    Originally written in German in 1906 when Busoni was living in Berlin, this avantgarde music manifesto has been constantly in print in Germany since 1907, thanks to the Insel Bucherei collection of essays and pamphlets in lovely paperbak editions.

     
  10. Ah, the digital imaginary.