#polyton

[real5fingersgroup]

Meta Force is a company that is making waves in the business world. With over $900 million in revenue in just 8 months of operation, it has attracted the attention of many investors. We will delve into the success of Meta Force and explore the role of Smart Contracts in the company's development.

[blackswaneuroparedux]

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There is no beauty in Music itself, the beauty is within the listener.

- Igor Stravinsky

“The idea of The Rite of Spring came to me while I was still composing Firebird,” Igor Stravinsky recalled, 45 years after the ballet’s first performance in 1913, in his book Conversations. “I had dreamed of a scene of pagan ritual in which a chosen sacrificial virgin danced herself to death.” If Stravinsky is to be believed, this dream marked the beginning of a process that culminated in the premiere of one of the 20th century’s most important musical works.

Stravinsky’s music was meant to capture the spirit of the scenario, which he had outlined with the help of painter and ethnographer Nikolai Roerich and dancer and choreographer Mikhail Fokine during the spring and summer of 1910. Roerich had filled Stravinsky’s head with tales about all sorts of rituals from ancient Russia – divinations, sacrifices, dances, and so on – involving a variety of characters. The ballet that resulted revolves around the return of spring and the renewal of the earth through the sacrifice of a virgin. In his handwritten version of the story, Stravinsky described The Rite as “a musical choreographic work. It represents pagan Russia and is unified by a single idea: the mystery and the great surge of the creative power of spring….”

Stravinsky completed the score on 29 March 1913, and exactly two months later, the ballet premiered in Paris at the Théâtre des Champs-Élysées, where it caused the famous scandal that ushered in modern music. Nijinsky’s choreography and the wild, unchecked power of Stravinsky’s score were something wholly new. Stravinsky wrote for one of his largest orchestras ever in The Rite of Spring, and he used it with an assurance and confidence one would hardly expect from a composer just out of his twenties and with only two big successes - The Firebird and Petrushka - behind him.

But those two scores, for all of their individuality and accomplishment, did not seem like they were leading to The Rite of Spring. What Stravinsky did was totally unexpected.

The stage action during the ballet’s second half, leading up to the sacrifice, was enough to capture the attention of even that raucous audience at the first performance. Finally quiet, they could hear Stravinsky’s score and watch as Maria Piltz, the dancer who played the sacrificial victim, stood motionless as the ritual unfolded around her, gradually coming to life to perform her dance, with its angular contortions and tortured motions.

What actually happened on that scandalous night will always be a mystery to some degree, because the reports contradict each other. Was it the choreography that annoyed people, or the music? Were the police really called? Was it true that missiles were thrown, and challenges to a duel offered? Were the creators booed at the end, or cheered?

The dancer Dame Marie Rambert remembered that right at the beginning ‘a shout went up in the gallery: “Un docteur!" (Call a doctor!). Somebody else shouted louder, “Un dentiste!" (a dentist!)’. The aristocrat Harry Kessler said that people started to whisper and joke almost immediately. Stravinsky himself was so angry that he stormed out and went backstage to help the dancers keep time.

What is certain is that the audience was shocked - and with good reason. Stravinsky’s score for The Rite of Spring contradicted every rule about what music should be. The sounds are often deliberately harsh, right from opening Lithuanian folk melody, which is played by the bassoon in its highest, most uncomfortable range. The music was cacophonously loud, assaulting the ears with thunderous percussion and shrieking brass. Rhythmically it was complex in a completely unprecedented way. In the ‘Ritual of the Rival Tribes’ the music unfolds in two speeds at once, in a ratio of 3:2. And it makes lavish use of dissonance, i.e. combinations of notes which don’t make normal harmonic sense. ‘The music always goes to the note next to the one you expect,’ wrote one exasperated critic.

Then there was the dance, choreographed by Nijinsky. According to some observers this was what really caused the scandal at the first night. When the curtain rose the audience saw a row of ‘knock-kneed and long-braided Lolitas jumping up and down’ as Stravinsky called them, who seemed to jerk rather than dance. Classical dance aspired upwards, in defiance of gravity, whereas Nijinsky’s dancers seemed pulled down to the earth. Their strange, stamping movements and awkward poses defied every canon of gracefulness.

Both the music and the dance of The Rite of Spring seemed to deny the possibility of human feelings, which for most people is what gives art its meaning. As Stravinsky put it, ‘there are simply no regions for soul-searching in The Rite of Spring’. This is what separates it so decisively from Stravinsky’s hit of 1911, Petrushka. There we’re immersed in a human world, which exudes the very specific cultural ambience of Russia. It’s true that the main characters are puppets, rather than rounded human beings. But they have characters, even if they’re somewhat rudimentary, and at the end there’s even a suggestion that Petrushka might have a soul.

* Pina Bausch's interpretation of Stravinksy's Rite. A masterpiece of modern dance.

[bumblingbabooshka]

Oh yeah, that's Tuvok's son alright [Patreon | Ko-fi]

[nnn-lll-nnn]

PTM-010100 EST NOV 23

Resist He Hyn and join the Free Xanxon Army. Death to the Military-Political Coup!

[jewfrogs]

simonides in the anthologia palatina 6.217 calling a galla ημιγυναικα vs. martial’s epigram 3.91 calling a galla semivir. you know

[thegreatmatpi]

Theory Time: Polytonality explained with Love Live!

On February 15th, we got “The Blue Swell”, an album of Aqours songs remixed in various styles of rock music. Needless to say the entire album was amazing, especially with “Aozora Jumping Heart” sounding like it was made by DragonForce, but given I just put out a post about music arrangement, let’s talk about the other cool thing the album gave us: polytonality. To give you a little bit of…

[whoreofathens]

τυρὸς δʼ οὐ λείπει με

"The cheese does not leave me."

The cyclops Polyphemus singing to his love, Galatea, trying to convince her to acknowledge him.

Theocritus XI

[astrology-bf]

So what's the katharevousa word for umbrella?

Great question!

Some context: the Greek language, like every other language, has undergone significant changes over the course of its history. From about the medieval period on there was an increasing situation of diglossia where the Attic literary dialect (more similar to Classical Greek) diverged from the Koine-based vernacular used by ordinary people. A good example is in the vocabulary; the Classical term for house, οἶκος ('oikos'), was replaced during the Byzantine period by a colloquial term still used in modern Greek σπίτι ('spiti'), derived from the Latin word hospitium.

Katharevousa was a modern attempt to purge the Greek language of a lot of the elements it had acquired in the Roman, Byzantine, and Ottoman Periods; the name 'katharevousa' itself carries connotations of purity (cf. 'catharsis'), describing the process of the grammar being shifted back to something more antique and loanwords being removed and replaced by appropriately "Greek" neologisms and calques. The previous word for "umbrella" is one such loanword - ομπρέλα ('omprela'), which is a direct borrowing of the original Italian word simply meaning 'little shade', and was replaced by the constructed term αλέξιβροχῖον ('alexivrochion'), roughly meaning 'rain-defender'. I forget the exact katharevousa term but similarly, the word for wastepaper basket had a literal meaning of "receptacle of the useless."

The best equivalent in English would be something called Uncleftish Beholding, which is an example of what the language might look like in a purely Germanic state - 'uncleftish beholding' being the analogue for 'atomic theory'.

It's worth mentioning because use of Katharevousa versus what most people were speaking - Demotic Greek - was encouraged or enforced within political and academic circles where success was contingent on learning a very artificial and unnatural sounding version of the language. It didn't last, with Demotic being made the standard version of Greek in the latter part of the 20th century, but it has left a linguistic mark in helping to provide a lot of new vocabulary and setting the groundwork for a more complete consolidation of the spoken and written registers.

[guitarguitarworld]

Dennis Sandole Polytonal Guitar Scales: Lesson:

Dennis Sandole Polytonal Guitar Scales Lesson and Examples Please watch video above for detailed info: Hi Guys, Today, a look at the unique scale formations/superimpositions of Dennis Sandole. Dennis Sandole We will take three examples from a handwritten page of polytonal scales by Dennis Sandole and apply them to the guitar: SCALE 1: Dennis Sandole’s Handwritten Polytonal Scale: Same…

[andronicmusicblog]

Winifred Phillips on Polytonality in Jurassic World Primal Ops

Winifred Phillips Discusses the Power of Polytonality in Her Music for Jurassic World Primal Ops This is a very interesting topic by Winifred Phillips, who discusses the power of polytonality in her music for the game Jurassic World Primal Ops in her article "Polytonality (The Game Music of Jurassic World Primal Ops: GDC 2023)."

Phillips describes polytonality as a harmonic device that allows composers to simultaneously assert multiple tonal centers in their music. This can be used to create a sense of tension, anxiety, and dissonance, which is particularly effective in video game music.

You’ll find all these ideas discussed in detail in these three articles:

Part One: Tonic Pivot (The Music of Jurassic World Primal Ops: GDC 2023)

Part Two: Quartal Chords and Chromatics (The Music of Jurassic World Primal Ops: GDC 2023)

Part Three: Whole Tone and Octatonic Scales (The Music of Jurassic World Primal Ops: GDC 2023)

Some extract from the original article:

"We’d just finished discussing the fantastic utility of both the Octatonic and whole-tone scales, which are particularly useful when we’re pushing our music away from a classic harmonic structure and towards atonality. But now let’s take a moment to step away from atonality altogether, and consider its close cousin – polytonality.

We’re all very familiar with traditional key signatures. In classic music theory, key signatures control what chords we hear, what harmonic progressions may occur, and how melodies might take shape. When we go fully atonal, we distance ourselves from these rules – but with polytonality, we keep using them – albeit in a devious way.

Instead of hiding the tonal center, we construct our music to assert more than one at a time.

When listening to a track expertly structured in this way, we can sense multiple separate and distinct key signatures happening simultaneously, and this is great at creating some really interesting harmonic complexity. Best of all, the music can include classically-diatonic melodies on top – and still feel conspicuously weird, due to all the unrelated chord structures going on underneath.

I want to share some musical examples of polytonality now – with the caveat that this stuff can get pretty complicated. I’ll be going through a bunch of details here, but mostly to give you a general feel for how polytonality works. Let’s start by checking out a relatively simple example.

This is another piece of music that accompanies ‘tracking’ sequences when players are searching for wild dinosaurs. I built the music around the whole tone scale – we already discussed how this scale works in the music of Jurassic World Primal Ops. For this particular composition, I put the initial chord structure into the C wholetone scale.

Winifred Phillips · The C Wholetone Scale

But the bassline is assertively hitting D flat as the root tone:

Winifred Phillips · The D Flat Root Tone

And D flat is not at all in the C wholetone scale. Plus, half of the foreground melody is written with a D flat major feel:

Winifred Phillips · The D Flat Major Scale

Then, the other half of the foreground melody follows the C wholetone scale:

Winifred Phillips · The C Wholetone Scale

The chords support the melody by swinging back and forth between D flat major and C wholetone – making the entire thing feel bizarrely unstable. Let’s check that out now – you’ll see that I’ve included some of the notation on-screen, with the D flat major and C wholetone content divided into different staves so we can track what’s happening:

Now I want to share with you a more complex example of polytonality in the music I composed for Primal Ops. We’re going to be listening to this music, but I’ll break it down for you first.

The orchestra begins with a repeating diminished 7th chord in D minor. The string section gives us some nervous figures in A flat minor. So – two simultaneous unrelated keys:

D minor:

Winifred Phillips · The Key of D Minor

A flat minor:

Winifred Phillips · The Key of A Flat Minor

After that, we modulate into a hard tonic pivot, which takes the background chords and the agitated string section into 7th chords in G major:

Winifred Phillips · The Key of G Major

While that’s happening, the melody and bass line move to B flat minor:

Winifred Phillips · The Key of B Flat Minor

So, there’s lots of polytonality! We’ll get a better sense of it when we’re listening to the music. As before, I’ve divided the different key signature content so we can follow along, and you’ll see that I’ve indicated where the modulation and the tonic pivot happen:

Polytonality is an uncommon harmonic device, just like the tonic pivots, quartal harmonies, Chromaticism, and exotic scales that we’ve discussed so far during this talk. All these techniques help us to break away from harmonic conventionalism. But harmony is just a piece of the puzzle, and it certainly isn’t the only way we can introduce chaos into our game scores.

In the next article of this series, we’ll be shifting our discussion away from harmonies, and talking about kinetics. In the meantime, you can read more about game music composition in my book, A Composer’s Guide to Game Music. Thanks for reading!

Phillips provides two examples of polytonality in her music for Jurassic World Primal Ops. In the first example, the bassline and melody are in different keys, while the chords alternate between the two keys. In the second example, the orchestra begins with a repeating diminished 7th chord in D minor, while the string section plays in A flat minor. The music then modulates to G major, while the melody and bass line move to B flat minor.

Phillips argues that polytonality, along with other techniques such as tonic pivots, quartal harmonies, and chromaticism, can help composers to break away from harmonic conventionalism and introduce chaos into their game scores.

In addition to her work on Jurassic World Primal Ops, Phillips has also composed music for other popular video game franchises such as Assassin's Creed, God of War, Total War, The Sims, and Sackboy / LittleBigPlanet. She has received numerous awards for her work, including an Interactive Achievement Award / D.I.C.E. Award, six Game Audio Network Guild Awards, and four Hollywood Music in Media Awards. From the original article here.

[patricia-taxxon]

i actually apply my theory knowledge most judiciously to my ambient/drone pieces, it's really rewarding, considering i am making u listen to 1 chord for several minutes in most cases. lots of split/inverted/polytonal voicings in ten skies.

[ourshadowstallerthanoursoul]

Independence

"The one moment that came nearest to a musical experience in the traditional sense was an organ solo by John Paul Jones. With all of the echo and electronic feedback employed in this style, there were some interesting polytonal effects and Jones displayed a rather highly developed rhythmic independence among voice parts."

- From the Sept. 3, 1970 San Diego concert review by D. Dierks (SD Union)

[sabakos]

Modern Greek continuing to use polytonic diacritics is such a good bit.

[party-at-jacurutu]

tonight's menu:

creepy polytones

distorted weather report in english

polytones/garbled sporadically between bits of incomprehensible speech of indecipherable language

japanese radio opera/story/music

Morse code, two different tones, seemingly same pattern, one slightly delayed behind the other, or sometimes in pieces or not at all. a faint, third code beeps in a higher pitch in he bg, unable to hear it clearly enough. main code very clear.

long, dragging, fucking deep fried polytones that the just suddenly STOP

tons of jesus

(lol I forgot to post this last night)

[guitarguitarworld]

Robert Fripp/King Crimson Polytonal Guitar Lesson

Robert Fripp/King Crimson Polytonal Guitar Lesson

 CLICK SUBSCRIBE! Robert Fripp/King Crimson Polytonal Guitar Lesson PDF OF FRIPP/CRIMSON EXAMPLE: fripp-king-crimson-polytonal-lineFripp/Crimson Download Below is the longer non “YouTube Shorts” video analysis: Robert Fripp/King Crimson Polytonal Guitar Lesson IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

[jazzandother-blog]

PAUL DESMOND

photo by Jan Persson

(English / Español)

The main influences of alto saxophonist Paul Desmond (1924-1977) were Johnny Hodges and above all the sound of Pete Brown's saxophone, but also the melodic tone of Lester Young and Art Pepper. Paul Desmond's playing was fluid and airy, with little vibrato, with a much smoother sound than that of other saxophonists, which was his charm. His very pure sound, his uninhibited and inspired phrasing and his sense of swing made him one of the most popular musicians in West Coast jazz. Desmond produced a light, melodic tone on the alto saxophone. He said he tried to sound "like a dry martini". With a style similar to Lee Konitz, another of his influences, he quickly became one of the best-known jazz saxophonists of his time. Much of the success of Dave Brubeck's classic quartet was due to the juxtaposition of his fluid style over Brubeck's sometimes relatively heavy, polytonal piano.

An underrated saxophonist in the 1980s, today's critics recognise him as one of the great jazz musicians of the West Coast of the United States and a master in the art of improvisation, his sound being recognisable from the first note. His rare facility for improvised counterpoint is perhaps most evident on the two albums he recorded with baritone saxophonist Gerry Mulligan (Mulligan-Desmond Quartet and Two of a Mind). Desmond's playing was also notable for his ability to produce extremely high notes on his saxophone.

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Las principales influencias del saxofonista alto Paul Desmond (1924-1977) fueron Johnny Hodges y sobre todo el sonido del saxo de Pete Brown, también el tono melódico de Lester Young y Art Pepper. La forma de tocar de Paul Desmond era fluida y aérea, con poco vibrato, con un sonido mucho más suave que el de otros saxofonistas, lo que constituía su encanto. Su sonido muy puro, su fraseo desenvuelto e inspirado y su sentido del swing lo hicieron uno de los músicos más populares del jazz de la Costa Oeste. Desmond produjo un tono ligero y melódico en el saxofón alto. Dijo que trataba de sonar "como un martini seco". Con un estilo similar al de Lee Konitz, otra de sus influencias, se convirtió rápidamente en uno de los saxofonistas más conocidos del jazz de su época. Gran parte del éxito del clásico cuarteto de Dave Brubeck se debió a la yuxtaposición de su estilo fluido sobre el piano a veces relativamente pesado y politonal de Brubeck.

Saxofonista infravalorado en los años ochenta, la crítica actual le reconoce como uno de los grandes músicos de jazz de la Costa Oeste de los Estados Unidos y un maestro en el arte de la improvisación, siendo su sonido reconocible desde la primera nota. Su rara facilidad para el contrapunto improvisado es quizás más evidente en los dos álbumes que grabó con el saxo barítono Gerry Mulligan (Mulligan-Desmond Quartet y Two of a Mind). El toque de Desmond también fue notable por su capacidad para producir notas extremadamente altas en su saxofón.

source: pasión por el jazz y blues