from the STORM to its far range of affect
To read actually comes from the Latin reri to calculate, to think which is not only the progenitor of read but of reason as well, both of which hail from the Greek arariskein to fit. Aside from giving us reason, arariskein also gives us an unlikely sibling, Latin arma meaning weapons. It seems that to fit the world or to make sense of it requires either reason or arms.
Mark Z. Danielewski, House of Leaves (via crematedadolescent)


Les Corps Glorieux (1939) for organ, Olivier Messiaen

II. Les Eaux de la Grâce

Organ of the Cathedrale de Notre Dame de Paris

ugh ew fuck no .

Dear TPB community,

Pirate bay helps literally millions of people who cannot purchase exorbitantly priced text books, books of quality, classical films, animation movies that brings joy to children and pure-hearted of the world. We intended to provide an authentic and not commercially edited, English translation. It is earnestly requested of other speakers of languages such as Deutsch, Italiano, Francais, Espanol, and others, that they create their translation based upon this English version. The English version is free from fear or favour (to politics and to the Japanese nation), neutral and true to the spirit and letter of the original Japanese script.

In translating this final work by Mr Hayao Miyazaki, the intention is to keep the original spoken Japanese’s elegance using a classical, dignified British English style. The Japanese used in this movie is mainly pre-WW2, when people used elegant, classical speech. Just look at the English films of that era and you will hear instead of “what’s up?”, “ how do you do? “

In any language, especially between East and West, it is not possible to give a perfect translation. It is akin to translating Sir Francis Bacon’s [Hamlet] into Japanese. The verse “ To be, or not to be” simply does not have any counterpart in Japanese language. Hence, after hundreds of translations, only those Japanese who can read Sir Francis’ original work in archaic English can appreciate the beauty of it. Therefore, where necessary, the translators included explanatory notes in parenthesis, or added intended words as Japanese conversations usually omit many components, such as the subject, numbers, verbs, etc.

Listening to the spoken Japanese, especially between Jiro and Naoko, the translators were moved to such degree, the latters pushed themselves to compleat the translations as soon as possible. The protagonist and his counter-part, who later becomes his beloved consort, speak to each other in such beautiful, respectful classical Japanese. This kind of elegant Japanese is not heard anywhere in Japan today, except in rare cases in traditional families still appreciate to raise children in such way.

The only regret in this movie is that the male protagonist’s voiceover artist doesn’t express the depth of emotion required. For, in animation, we cannot see the faces of actors and actresses, so are reliant on the voice alone to transmit emotion to the audience. The male voice of the protagonist failed in this regard.
As for the female voice of the heroine, as she stated in the interview on Japanese TV, it was a divine match. No words can express the beauty of how she speaks, the timing of the words, the adorable and fantastically feminine voice of the slowly dying heroine. The voiceover artist did a perfect job. The audience are urged to listen carefully to her voice. Naoko’s breathing stops when speaking, slight pause between the words, tones and intonations. The female voiceover artist expresses everything that needs to be communicated in a masterful voiceover. The superbly drawn figures of this animation leave an unforgettable impression and memories in our minds. This is indeed Magnum Opus of the Maestro Hayao Miyazaki.

crowdsourced translations for The Wind Rises. there’s a whole scene, go to pirate bay. 

not scene like in the movie scene like community. everyone here is only really doing the whole movie!! 

i’d like to thank kermit the frog for vaguely improving the ice bucket situation. 

ugh, scary! 



re: abstraction

so basically before the 19th century, polphony/counterpoint (which, for these purposes, as functionally identical) weren’t really abstractions the way we treat them today. the fugue (polyphony genre par excellence) is a pedagogical tool for the conservatoire. fugues become a fetish for reinecke and rheinberger and riemann. by the time webern comes along, counterpoint is the bedrock of the educational system and he employs techniques he finds in ockeghem and isaac in a way totally alien to their actual work. for webern, canon is an abstraction that can be deployed in any compositional system to serve any ends.

but this is not the purpose of polyphony for musicians working between 1500 and 1800. for composers of the renaissance, polyphony is the fundament of advanced composition: there isn’t any other way to put pitches together. it is the way that composition is possible (n.b. non-polyphonic music clearly existed and trained composers still relied on polyphonic voice leading rules as a basis for these works as well. instrumental music is a little more complicated but before 1590 it was hardly considered music). something so basic to the way that a musician relates to music isn’t really an abstraction. and writers on music do not talk about counterpoint like an abstraction. perhaps also consider that polyphony was frequently improvised, so basically these norms of pitch relation were so ingrained that there was really only one “way” to do advanced music.

for baroque composers, whose palette of compositional tools is arguably wider, polyphony takes on several meanings. first, counterpoint is a rhetorical act, like a poetic device. this idea first arises in the early 16th century, with the revival of classical discussion of the relationship between music and the “passions.” when imitative polyphony is deployed in a work of baroque music, it is not just an abstract tool but a way of arguing, of saying, of speaking. it takes on meaning that was extremely important to the musicians who lived that music, even if we don’t understand the full extent of their position. one can see this at work in a toccata of frescobaldi, where short sections of improvisational passagework or homophony contrasts with imitation; the different sections each have a different “feeling” and are strung together like sections of a work of oratory. i cannot stress enough that 17th/18th century writers connect oratory and music. music was supposed to be a kind of speaking. not the kind of “pure” “expression” advocated by 19th century musicians and philosophers. 

so i don’t have lots of chapter-and-verse to throw around but. i think romanticism and modernism obscured the fact that musicians from about 1500-1800 thought their music was a lot like language, and language was organized in poetry and oratory. thus, composers thought of their music as having meaning conferred upon it in ways similar to poetry and oratory.

when music is a craft, it has to have a purpose. it has to have a focus that expresses meaning. there isn’t “time” for abstractions because everything has to work and everyone sort of has to agree on the rules.

and i think that the music bears this thesis out because a lot of polyphony doesn’t work like the textbooks say and the stuff that is most well-known conforms to the needs of modern abstraction.

Yes, thanks. Thanks especially for driving home the point about counterpoint and rhetoric. This lesson was learned recently as I was learning a WTC fugue and my teacher was all like “this part is the emotional high point in the fugue, because a) and b) etc.” and I had no clue.

Our reception of Baroque music rhetoric is heavily skewed, I think primarily from passing through the veil of Romanticism, but I think also from the vast changes in instrumental capabilities since then. The fact that the harpsichord and organ, both “non-expressive” instruments, were central to Baroque music-making seems heavily important.

I am interested in whether you think this applies to contrapuntal music/polyphony before 1500 (ie. Notre Dame Polyphony-Dufay).

wow! lovely, exciting. 

i’m doing important things tonight so i’ll be brief, lazy, and i’m sorry: what you don’t like about Gould he does as deliberate heresy. 


and this is why g.g. is so annoying. he and all those other pianists are missing the fact that the syntactical unit is SO SMALL in comparison with other music written in the 19th/20th centuries. and this is a fundamental part of how the music is made. and so i think i should be able to hear what the performer makes of the collection of units.

rhetoric should be hearable or we do not play music of the baroque.

Secretary of Education Arne Duncan announced on Thursday that states could delay the use of test results in teacher-performance ratings by another year, an acknowledgment, in effect, of the enormous pressures mounting on the nation’s teachers because of new academic standards and more rigorous standardized testing.

Sounding like some of his fiercest critics, Mr. Duncan wrote in ablog post,“I believe testing issues are sucking the oxygen out of the room in a lot of schools,” and said that teachers needed time to adapt to new standards and tests that emphasize more than simply filling in bubbled answers to multiple-choice questions.

Over the past four years, close to 40 states have adopted laws that tie teacher evaluations in part to the performance of their students on standardized tests. Many districts have said they will use these performance reviews to decide how teachers are granted tenure, promoted or fired. These laws were adopted in response to conditions set by the Department of Education in the waivers it granted from the No Child Left Behind law that governs what states must do to receive federal education dollars. The test-based teacher evaluations were also included as conditions of Race to the Top grants that have been given by the Obama administration.

Many teachers and parents have objected to these new laws. They say they put too much emphasis on tests and force educators to narrow their curriculums and spend too much time on test preparation. At the same time, schools have been scrambling to change their curriculums to match the Common Core, the new academic guidelines for what children should learn in math and reading from kindergarten through high school graduation. These standards were adopted by more than 40 states but have been the subject of increasing controversy.

Objections to test-based teacher evaluations fueled a strike by Chicago teachers in 2012, and as opposition has spread across the country, even those who originally pushed for the adoption of teacher ratings based on test scores have called for a slower timetable for implementation. In June, the Bill & Melinda Gates Foundation, one of the country’s largest donors to education causes, called for a two-year moratorium on states or districts making any personnel decisions based on tests aligned to the Common Core.

Last year Mr. Duncan said states could delay using teacher evaluations to make high-stakes personnel decisions. Thursday’s announcement allows states to delay using test results at all in performance reviews.

In his blog post, Mr. Duncan wrote that “too much testing can rob school buildings of joy, and cause unnecessary stress.” He also accepted responsibility for the federal department’s role in pushing states and districts too quickly toward new standards and tests.

absolutely jarring. too far? idk ugh. 


Marina engages with a member of her public outside the Serpentine Gallery today.



Marina engages with a member of her public outside the Serpentine Gallery today.



From Elon James White Tuesday night.



this morning, police raided Greater St. Mark school/church in Ferguson, MO (formerly called St. Sebastian’s Parish).

community members had been using it as a safe space and staging area. police claim that the church is violating housing codes by sheltering protesters, even though the pastor has said it isn’t true.

please please please boost this. help these organizers recover the supplies they lost, and share just how fucking far these cops will sink to make the people of Ferguson suffer.

You gotta love when they go for churches. They don’t need to burn crosses, we know who they are. 


From Elon James White Tuesday night.

I can remember quite distinctly that from the very beginning I declared myself in favor of German opera; my choice was determined by the tremendous impression produced on me by the two figures of [Filippo] Sassaroli and Weber. The Italian male-soprano, a huge pot-bellied giant, horrified me with his high effeminate voice, his astonishing volubility, and his incessant screeching laughter. In spite of his boundless good-nature and amiability, particularly to my family, I took an uncanny dislike to him. On account of this dreadful person, the sound of Italian, either spoken or sung, seemed to my ears almost diabolical; and when, in consequence of my poor sister [Clara’s] misfortune, I heard them often talking about Italian intrigues and cabals, I conceived so strong a dislike for everything connected with this nation that even in much later years I used to feel myself carried away by an impulse of utter detestation and abhorrence. The less frequent visits of Weber, on the other hand, seemed to have produced upon me those first sympathetic impressions which I have never since lost. In contrast to Sassaroli’s repulsive figure, Weber’s really refined, delicate, and intellectual appearance excited my ecstatic admiration. His narrow face and finely-cut features, his vivacious though often half-closed eyes, captivated and thrilled me; whilst even the bad limp with which he walked, and which I often noticed from our high windows when the master was making his way home past our house from the fatiguing rehearsals, stamped the great musician in my imagination as an exceptional and almost superhuman being. When, as a boy of nine, my mother introduced me to him, and he asked me what I was going to be, whether I wanted perhaps to be a musician, my mother told him that, though I was indeed quite mad on Freischütz, yet she had as yet seen nothing in me which indicated any musical talent.
Wagner, My Life, Vol. I (via homilius)


he said somewhere else that die freishultz was the staple of his early 20s conducting gigs.