tag:blogger.com,1999:blog-15760562.post114958057674927497..comments2023-06-13T02:22:14.943-07:00Comments on Music in a Suburban Scene: Implicit assumptions in instrumentationM. Keiserhttp://www.blogger.com/profile/06371756348134460552noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-15760562.post-1149648860922804522006-06-06T19:54:00.000-07:002006-06-06T19:54:00.000-07:00oh im sorry, thats not exactly what i meant. I re-...oh im sorry, thats not exactly what i meant. I re-read the passage and i see why there's confusion. my argument about 12-tone is that the main assumption behind it is Platonic, that the whole theory is operating on this notion of some pure "form" of music (12 tone row) and that perception of it is not crucial because it exists independent of perception, and thus making it all the more profound(?) Its very platonic- <BR/><BR/>and its full of crap.M. Keiserhttps://www.blogger.com/profile/06371756348134460552noreply@blogger.comtag:blogger.com,1999:blog-15760562.post-1149625682402610152006-06-06T13:28:00.000-07:002006-06-06T13:28:00.000-07:00I hesitate to stomp on a post I'm otherwise very m...I hesitate to stomp on a post I'm otherwise very much in agreement with, but I don't think anyone in the Two-V Mafia believed that "that it didnt matter what instruments the chord was playing it, it was still the same, the same music." <BR/><BR/>Isn't <I>klangfarbenmelodie</I> pretty much the antithesis of that attitude?Anonymousnoreply@blogger.com