The genesis used two sound chips- the YM2612 and the SN76489. With storage capabilities of these early game consoles, these chips allowed for the live playing of midi sounds instead of storing a prerecorded track.
I do remember the music feeling a lot more developed on Sega over the Nintendo console, and now I know why. They had a lot of interesting innovations that kept Sega different enough from Nintendo that made them stand out.
I listened to music from the "Sonic the Hedgehog 3" soundtrack. I chose these two songs specifically from the soundtrack because of the work Michael Jackson did on the soundtrack
I loved these games and the music of them as a kid. I had no idea that Michael Jackson worked on the music!
Nancy explores the many philosophical entries toward listening and translating truth.
I enjoyed the ideas Nancy was using with listening as a search for meaning and truth. I thought the different french phrases to describe different methods of listening helped provide a better understanding of what Nancy was trying to convey. I thought it was also interesting that not many of these translations had stuck around in english when they could be easily used to describe more nuanced forms of receiving sonorous information.
"If a nominally unpleasant sound is not expected by a listener, then the sound will be perceived as even more unpleasant or annoying." There are pieces that are pretty interesting that use this to the extreme where they use the surprise of a new sound to make it even more uncomfortable
I was thinking about this and how do we reconcile this if we like "bad"sounds? Or what happens if we find parts of the sound "good" and parts "bad"? In that light, can we train ourselves one way or the other?
I really like the thought of the distinction between hearing and listening. The thought that hearing is purely physical and listing in mental seems very intuitive and common sense but I've never though that much into it.
This was a big thing for me too, when I first read Oliveros. One big ethos of her work is based around egalitarianism and I think that comes across expertly in the way that she writes .
"The sonorous appears and fades away into its permanence"
I liked this description a lot, especially as an anecdote to the first part which is about the art that exists in the visual realm. I thought it was an interesting idea that we accept the visual work as it is while we can only accept the sonorous as real once it has left us. I did have a bit of a hard time with the language of this guy at certain points, but I did also really enjoy reading it. This one will definitely be revisited.
The linguistic weakness and ineffective position to interpret music
I had such a hard time trying to penetrate the language on this one, I felt like I kept rereading the same sentences over and over and over again. At a certain point I wanted to stop reading and did. The pull of the 'I don't care' was very strong due to this. I am going to attempt this again, but maybe after a solid sleep.
I wish Ewell could have proposed research at earlier stages of learning rather than just at the college level. By that point, this dominating system of thought has already influenced the subconscious of students/teachers, and the ratio of colored to white individuals in this dominant culture is already radicalized and established
Thats a very good point, and would be a great way to introduce the critical skills needed to analyze the dominant power structures from a much younger age. And from a much less influenced/experienced position
It really put me on edge while listening to it, but I was also finding myself spacing out while listening. Very easy to get lost in and forget how much time has past. It wouldn't surprise me if you told me Chowning was on drugs when creating this piece.
Yeah I really enjoy this style of music, and it almost begs for a passive listening style of engagement. I am always interested in this genre of music and the type of phenomenological reaction it brings out in the listener.
Because of the whiteness in music theory the people in charge will never fully understand because majority of them have never been on the receiving end of it.
Yeah this is a huge hurdle, which asks how far can empathy take you without any experiential framework to ground the subject? or to reframe, how much experience is needed to be able to be empathetic to someones plight?
"The topic of tuning systems is complex and confusing, partly because it is mathematical and goes back at least 2500 years, but mostly because the internet is full of unreliable and unsubstantiated information."
I loved this too, and highlights the serious need for vetting our internet sources. I have definitely gotten a lot better at it trying to process what information is useful or not.
The technological limitations of the day prevented Stria from realizing it’s true potential upon its first performance. A thorough and extensive list of various composers and music theorists’ critique, analysis and notational attempts at Stria.
It was interesting to see the level of commitment to analyzing this piece for, what I read, as its true or its truest compositional form. The levels of documentation here were impressive, and reconfirmed the fragility of storage methods concerning the types of work that could fall under the electro-acoustic umbrella. There was a point where they were discussing the different lengths of the piece that lost me, especially when it was the two or three versions that were different by seconds. At one point in the article even Chowning seems to express his uncertainty for how long the piece should be.
The YouTube comments don't really offer any voices of dissent, I was hoping for someone to present a counter to the piece but it all seems like praise.
Its a weird double edged sword, part of which inspired the term 'white carelessness' in my writing for this week. A lot of the indigenous art gets lost in this folk art ideal, meaning a lot of people assume it is free domain. People do not question it as freely as if it were a Euro-centric composer and if the style/piece was of some more dominant canon that we would recognize. The double edged sword part comes in that, if we take a short survey of the comments section, we can see it has inspired a bunch of listeners to engage with this style of singing and some actively went and sought out the media.
One of the take aways I got from this reading is that often times well-meaning white folks can just as easily do more harm than good for feminism. I believe this applies to other issues as well, especially in relation to Ewell's book. Some of the emails and comments he received started off as though they were trying to be supportive, but quickly turned anti-black.
Yeah I pulled the same from this book, and also found the same correlation you speak of to Ewell's book, too. They both bring up the idea of approaching their issues through an intersectional lens which I found thoughtful and plotted a feasible way forward to begin the steps to approach an equitable future.
I have grown to like Listening based approaches more over the past year. I find the the listening based approaches and more inviting and engaging for most people. It also allows everyone to appreciate the piece of music as they analyze it.
I think its a great way to involve anyone interested in learning about music. It plays really wonderfully into the innate human appreciation for sound and opens a lot of doors to people who wouldn't dare try to approach many types of less conventional music.
Two primary concepts, those being inclusion and representation, are at the foundation of the desired systemic transformation. The process for inclusion allows space for the marginalized groups who have been intentionally excluded from the fraternity of ruling elite that seek to preserve an exclusive homogeneous identity. As for representation, the ushering in of a new educational era can allow for innovative individuals within the silenced majority to become intellectual delegates of knowledge and for the pantheon of historical icons to be supplanted by a new generation of individuals.
I think Giroux's introduction to his was an eloquent testimonial to this idea. I think ne of the main points he makes is great and that with the overwhelming need for a critical reading of pedagogy is a pressing matter, but that when we are critical of it, it is because of the potential a critical pedagogy has as a tool of intersectional investigation. I do think a good reminder that he Giroux also points out is that just because we are being critical of it does not mean that is irreconcilable, we are being critical of these theorems to bring them up and make it better.