some musings in the spirit of V-Day

Made this 'poem-comic' piece (as it was supposed to be) for a friend a few weeks ago. Lettered and unlettered versions (as shown below).

Drawings are still rough because I can't do much of the details yet (and honestly, I rushed this one). I tried to visualize some recognizable steps from our dance class as accurate as I can with this one.

MuL 135 Journal Entry 3 - Indie Is Not Indie Anymore (The Feeling That You Don't Belong)

(reposted from UVLe) 


Space

Stravinsky found his niche (a part of it, to be particular) by collaborating with Diaghilev and the Ballet Russe with his critically-acclaimed works such as Firebird, Petrushka and Rite of Spring. Early influence of Russian folk music was evident on his output, most of them are colorful and of varying complexities. The Parisians enjoyed them, his fellow Russians didn’t.

Bartok further concentrated more on the influence of Hungarian peasant music, along with occasional departures from tonality, on his compositions, as opposed to Gypsy music that was largely urban and largely commercial in terms of distribution. This also had a significant contribution in the field of ethnomusicology.

Time

Rachmaninov had a few influence, if any, of Skryabin and Stravinsky before him. Most of his output anchored firmly with Romanticism and the tonal system, to which he extended the application to some extent. He is basically traditional in terms of his work, he even remarked: “Perhaps I feel that kind of music I care to write is not acceptable today.”

Roslavets’ outputs have similarities with that of Skryabin and the Second Viennese School. However, advanced technical aspects applied in his music eventually resulted to displeasure of those in political power, causing him to be heavily censured.

The Futurists thought of “throwing out all previous conceptions of art in order  to develop a new kind, suitable for an age based upon technology,” as quoted from Marinetti. Russolo, in particular came up with intonarumori  (“noise intoners”), categorized into 6 timbral types such as booms, whistles, whispers, screams, percussive sounds and vocal sounds, both human and animal, in order to came up with his own music. Unfortunately, neither his scores with “graphic” notations nor hisintonarumori survived because the movement has lost its momentum.

Janacek was also influenced folk music. He developed the theory of “speech-melody,” which was employed mainly on his opera work. Unfortunately, his work was overshadowed by Bartok in terms of progressive styles used. At the same time, opera, which is his concentration, is already losing its audience because of shifting interests.

Kodaly introduced Hungarian folk music to Bartok. He also focused on it along with developmental music for children and amateurs (“Kodaly method”) while taking less of contemporary Western Europe styles.

Ravel’s music parallels that of Debussy, adhering closely to traditional tonal system. Most of his work echoes elements from foreign sources (particularly Swiss, Spanish, German and even American).  Although a Romanticist and highly technical, he shifted a bit with simple and clear compositions, in anticipation to neo-classical developments that would occur later on.

MuL135 Journal Entry 2: Breakthru

(Reposted from UVLe)

Schoenberg setting up the stage for a so-called 'atonal revolution,' along with athemacism, poses its own problems as well. There's that dependence of different texts, usually poetry, that keeps the whole composition alive and progressing. The problem with unsustainability challenges this movement in music because of its lack of definite structure, or rather, its deliberate abandonment of tonal structure and the lack of underlying themes. A tent without a frame is simply a sheet of waterproof material.

You could say that probably sudden, or hopefully, intuitive bursts of ideas and feelings, more like stream-of-conciousness would provide a certain direction on a composition's structural progression. With technical aspects of developing variation and musical prose, a piece could be unpredictable (or ambiguous, depending on your perception), free as well as continuous in form. You can add a few dissonant segments here, abuse chromaticism there. There is that freedom to create something new. But what is new could not simply stand by itself just because it is the opposite or an extension of a pre-existing system.

There's this Law of Conservation of Mass, as well as Law of Conservation of Energy. Or simply, you cannot create something out of nothing. Or in the current context, without a definite logic that will define how these atonal compositions are created, I don't think they would stand by themselves (or at least, during the time 'atonal revolution' was just starting). Or maybe it's just me, together with other folks, who wants everything to be justified by a certain logic. You could just make up your own rules and explicitly state assumptions. Maybe that could do.

Luckily, Schoenberg's Pierrot Lunaire worked pretty well. The use of Sprechtimme, although disturbing to me, made perfect sense thematically. I wonder if watching the actual performance  would prove me wrong.

MuL135 Journal Entry 1: Transitions

reposted from UVLe

Structure of compositions and related trends in music during the late 19th to early 20th century were characterized by notable departures, like the use of chromaticism and dissonance, or rather, the extensive application of the traditional tonal system, which slowly led to its own collapse. Individualism also affected on how every detail of a composition is put together. The use of distant registers; variations on timbre, texture, and modulation were employed to evoke a particular mood. Also, blurring transitions and manipulating key centers contributed to a certain level of ambiguity and uniqueness to every musical piece.

Backgrounds of key composers during the transitional period have resonating influences on their notable works, if not during the whole the course of their active career. Mahler's Austrian influence, analytic instrumentation and lyricism, along with the feeling of uncertainty and pessimism in his compositions differentiates him with Richard Strauss' consistency and confidence along with his revolutionized concept of orchestral sound and the progressive German structures. Meanwhile in France, Debussy's focus on programmatic approach with atmospheric and colorific effects put him in much contrast with Satie's "playfulness",  with his lean, and sometimes nondevelopmental, compositions. By the way, I had fun listening to that snippet (or is that all?) of his "Dessicated Embryos."

Being my first music course (yes, I'm not a music major), I don't really know what to expect on this course. AllI know about it is the course description, "20th Century Music." A three-word identifier carrying a large scope in history, ideas, music and everything in between. I don't know whether my rudimentary knowledge in music would take me anywhere. Maybe I'll learn a bit jazz, rock 'n roll, blues, soul and a few things; maybe I'll start to like the Beatles, Hendrix, and some figures in the swingin Sixties. Yeah, too much popular music.

Maybe this would be the right moment to jump into what I've been missing a 'lot' (well, not all) in music, on how it developed during the course of the last century and on where it thrives in the current setting. Maybe I'll pick up some of those and I'll become, at least, a "more intelligent" music enthusiast. It may take some time, probably an indefinite transition. But still, I'll give it a try.

Heaven Electronics

I'm looking at the face of a person
It's on the screen, it's electronic
Looking at it makes me hear a loud tick
Time slows down yet I'm left by action

Feeling a pain in the chest, tightening
I seem to chase my breath, I'm not losing
I have to get over this, yes I do
They're just pictures reminding me of you

Like stars in the midnight sky, they shine bright
They instill awe simply just by staring
But you don't know if they're still burning
They may be just the last spark of light

We still have a virtual link left
It's not enough to write every letter
Comprising a message I'll send later
I can't finish it, no characters left

If only I could connect with you now
I'd use this virtual reality, yes
Chances of meeting you would be endless
Heaven electronics I don't know how



Dug this one from my old stuff, made this almost 3 years ago.

Dancing Queen

Made this piece for a friend. It is still messy like the one I did before but I'm really glad she liked it. ;D

Train

I board the train one in the afternoon
Hoping to see and ask you out before June
I'll come from the east end, five stations away
A few blocks walk, maybe drop by and stay

It's still early in the afternoon
A few days before it becomes June
Didn't send a message because it's a surprise
I'm not really confident with my disguise

I dropped by a store to get us something to nibble
I chose what would delight you and what I'm able
I'm so excited to share it with you, watch you enjoy it
Be really grateful to make you happy even with that bit

Before that, I watched a Spanish film for the first time
Really lucky to do so because I don't have any extra dime
I don't know if you've already seen something like that
It'd be fun with you but I planned a surprise from where you're at

Traveled almost the whole the whole train line
Transferred and rode a few stations from another line
I enjoyed staring at the view above most buildings
Like last year, with you, sharing nonsense of no endings

I arrived at your home, it was almost five
Sending that surprise message makes me more than alive
I would like to go inside but can't remember which door
I know I've been to the place almost two years before

I waited a bit for your reply to come
Or perhaps meet me at the gate for a welcome
Took a peek every minute or two
Never been so eager just to see you

Almost a quarter passed and no response
Your sister went out of the gate, I took a chance
Asked if your inside, she said you're out with a friend
She's a bit in a hurry, having fun with her friends

Stayed near the gate, leaned on the wall for some time
Another ten, fifteen minutes for a response
My father would be coming to my place in no time
Maybe I'll see you a bit just to catch a glance

Ten before six, I saw your sister again
I asked her to forward to you my treat
Really thankful she was there, just talkin'
It would break my heart if I'll eat all of it

I board the train when it was almost six
Saw a familiar face, didn't bother 'cause my head aches
I should've sent the message a lot earlier
It could've ended the day a lot better

Off the train then a jeepney ride
On a route into that university side
Checked the my phone, saw and read your message
I smiled, it relieved that day's frustration damage



Made this one early this afternoon. Apologies to the form and substance. I'd like to have it that way.