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Some more about written music and how serious it is.
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Kassen
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PostPosted: Wed May 25, 2005 1:34 pm    Post subject: Some more about written music and how serious it is. Reply with quote  Mark this post and the followings unread

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I think this text is downright hysterical. It shows some interesting points on music theory v.s. modern music, exactly because the writer is clearly very knowledgable on both no wave and music theory.

Concevably some of our esteemed readers won´t have much knowledge of no wave; let me add as a slight indication of how atonal and frankly messed up it can get that Michael Gira of the prominent no wave group Swans for a long time used to to tune his guitars purely according to timbre, nesecitating a guitar per song during performances. Very interesting read from a "theory v.s. the world" perspective even if you don´t care about no wave.

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PostPosted: Wed May 25, 2005 3:46 pm    Post subject: Reply with quote  Mark this post and the followings unread

YEAH! This rocks! It is hilarious. I am not completely sure how valid this analysis really is. What does it really mean?

The article is nice but it does not really quite
Quote:
Defining what no wave was aesthetically made up of


It is interesting to see the term "modernist" used in this context. Then of course I expected something more re WHY the term is used.. but no.. so in that respect I think he isn´t using it like europeans would have. .. or curators.. or whatever..

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PostPosted: Wed May 25, 2005 8:54 pm    Post subject: Reply with quote  Mark this post and the followings unread

Quote:

Apart from modernism and artistic sophistication, a third category of connotation in no wave is deconstruction. Early Salvation Army music is particularly skeletal in its arrangements of the sometimes melodically and harmonically sophisticated songs, involving Ramones-like rhythm guitar patterns. The songs themselves are also brief.

translation -> "dude, these songs were fast, pissed off, and, like, 3 chords."
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Kassen
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PostPosted: Thu May 26, 2005 8:08 am    Post subject: Reply with quote  Mark this post and the followings unread

zynthetix wrote:

translation -> "dude, these songs were fast, pissed off, and, like, 3 chords."


:¬)

Yes, but for a complete translation you´d have to include the word "chaotic" which he´s avoiding, insisting on treating the chaotic elements as structured and getting into trouble. It´s a bit like trying to aproach a prepared piano from a clasical piano perspective; quite literally so, bnands like Sonic Youth (used to?) stick stuff in between strings for timbral effects.

Elektro; I´m not sure why he insists on the "modernist" word either, but I happen to know this guy who both studied literature and is well aware of modern schools of thought and also happens to have a encyclopedic knowledge of hardcore punk; I could ask him?

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PostPosted: Thu May 26, 2005 6:19 pm    Post subject: Reply with quote  Mark this post and the followings unread

Kassen wrote:
Elektro; I´m not sure why he insists on the "modernist" word either, but I happen to know this guy who both studied literature and is well aware of modern schools of thought and also happens to have a encyclopedic knowledge of hardcore punk; I could ask him?


Please do. I am interested in what he is really saying here. Mentioning "modernist" in a musical context really implies a lot, and he might be able to say something really interesting about this.

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PostPosted: Thu May 26, 2005 7:02 pm    Post subject: Reply with quote  Mark this post and the followings unread

I will. I just re-read it and this paragraph seems especially baffeling;

Quote:
The slower “Punish Or Be Damned” (which also contains chromatic elements) utilizes more of a deliberate, expressionist atonality which, given the nature of the synthesizer, gives The Screamers more of a “new wave” sense about them than most of their L.A. punk scene peers. (New Yorkís no wave scene tended to exhibit a lot of modernist elements that were more identifiable as “new wave” than “punk” as well, this placing The Screamers, once again, well within the aesthetic context of no wave.) The singing in The Screamers is fairly typical obnoxious punk ranting (with a seemingly decent poetic sensibility) from the time period, but, unlike that of, say, The Germs’ Darby Crash, one that utilizes an inhuman character affectation that can be likened to some form of monster or horror-movie style. This style is not dissimilar to the singing of such New York no wave vocalists as Rudolph Grey, Lydia Lunch, and Glenn Branca. It is another evocation of modernistic or futuristic aesthetics in that it references the modern media forms of cinema and the late-night television broadcasts of the day.


This is quite confusing to me. Unless I misread it next to anything mentioned seems to be "modernist" in some sense yet this also serves to contrast things against eachother. I personally fail to see the inherent link between modernism and both no- and new wave and I´m downright lost in the first few phrases about tonality, the nature of the synthesiser and modernism. I happen to know what early L.A. punk sounds like and that´s often often along the exact lines of how he describes no wave, largely due (presumably) to early L.A. punk coming from a very small company of people. Frankly I never heard much difference between the bands from that period and area.

I also wonder about the omission (to me) of early Australian hardcore like the Boys Next Door (featuring Cave before he mellowed out and discovered background choruses).

Finally I wonder about how one could write a phrase like
Quote:
“Sickles and Hammers” (0:46) Formal structure: ABCDABC Instrumental. Obviously, the sections are very brief.
in a serious article. Perhaps we are dealing with a intelligent student in puberty, rebelling against a music teacher, then putting his homework online?
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PostPosted: Thu May 26, 2005 7:45 pm    Post subject: Reply with quote  Mark this post and the followings unread

Well.. yes..
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