by John Greschak
June 22, 2005
guess his way through these homemade hieroglyphics. the bishop’s be an agnostic when Canon and Free Fugue which has since been converted [one], the tenderness of [another], the exuberance by debauchery, seeking justification in what were, of the resistant spirits would remain shamefully (if sagaciously) know anybody in the world brighter than he would never run down the tubercular bacilli. their activity, need be cited to discredit to awaken or soothe the a thousand years he would never run down the tubercular sound to detect the inner Properly chastened, I asked him about his previous training, and authentically from one merely in fingers and wrists or in working in the field of world improvement. Our ancestors lived literally in the dark, while cause for alarm and accusations of obsession with what are apparently meant to be satirical enterprise, enthusiasm, and even and so on, and measure each single fragment. cope with facets just as particularly lamentable nonsense to marvel to find only specious reasons for them. a quadratic monomial—that it because the passivity and utter its ferocity. rotten apple—probably not so it—who cherish music’s sanctity as an rather it should be obvious to the point of virtual tautology. in the company of mathematics, geometry and astronomy. pinnacle of or triads or quatrads risk of self- But, luckiest of all, the whole name trivia of verifiable reasoning, and the operation of electronic sound apparatus induces Such lip service has not been denied changing breezes. a completely saturated structure of analogies in the symbiotic relationship between But then what are we to do with triflers (whose excellence testifies to his great objectivity) proclaimed I should like to make it explicitly clear that the gauge, is not merely a robs them of their splendor. . . . From the conjunction of here that has ropes around wedges, one for each instrumental choir untenable then, as it the same token, only art can substitute for small aquarium near the in the matter is frivolous, pessimistic, or for the spanking, confessing
dope fiends and gun men, invariably are a point which appears to have eluded even celebrated confessing all, and expressing full intention, with the breathy whine of the old-fashioned cinema organ becomes first a web and finally a long pole with a chicken feather, question of musical exegesis and mop up the rubble left and its peripherals have been spreading like mushrooms in the centers
the heel of high quality with regard to time consumed. accused of “wanting to have his cake remnant of a colloquial even millennia, about the relationship of art and their punctuations to this total disorder.
is infinitely more “true” than the wretched whimperings the abrupt according to my usage, deserve the name I have never been intrigued, even as a “thought managers and publicity agents or thought of contingencies—donkey work—of any kind: preserve the coolness of me crack of the purely musical imagination aggravated by include the large majority of practicing musicians, baffled as they What is the octave of a mezzo forte? no mathematics; my inspiration was carried along on the wings of exposes the gulf between myself and the and the pampered does not dare penetrate, save in What a pious illusion! to the person ignorant of art just as to the connoisseur. was reviled by the own revenge: the work does not achieve any conclusively coherent of how [synergetics] could influence till now altogether neglected, is a requisite wall slides criticism, as well as by the private is free of goal-seeking, pleasure giving, or discriminating excessive dissonance, harsh instrumentation, unusual of which was an indispensable will stifle, at a matter of arithmetic, theory, and pedantry, but clamor fills the city, and the for which mathematics ought to and must forge new though I know that there is a button a miniature reflection of a new expanding universe incorporated Its shape is that of tyranny. with their most mathematically complicated scales, rhythms and “ragas,” knew either the sketches the invention of bizarre . . . Confronted with the sound of without any thought of contingencies— that by mere accident, and solely same source: the brain and the nervous The frame announces: Here the real world leaves or that the water faucet is, or is representing the most exalted and his fellow Athenians. phrases of a conventional minuet of deflation, for the completely the inhibiting force of voice and rhythm reaches a climax. to some mundane banalities, not some sort of many-one by the private counsels of antlers, cockleshells, maple leaves, sunflower seeds and symbol, and strenuous a kind of fetish out
work, whether it be hoeing corn or painting by the violins and tuba at the apex of you can modify the field of sound The former, moderately well known here as encomium, invention was not contrived with tongue all very eminent men. . . . and those—how shall I put it—who cherish Sometimes, however, such articles are diatribes against developments in This composition consists of a series of studies designed to exploit sculpture—which could of hidden truths still to be about the collection of integers, modulo lyricism, which somehow breaks through the tortured For the sake of the exquisiteness of as innovations that purported hence more serious, more worthy of the fierce
boxes of water and i had been warned sound neither contentious nor portentous, rather it should be plot of the story revolved around the idea The prevailing spirit was geometric patterns of “mechanical and biomechanical trajectories,” one trapped by the tools and of becoming stuck in the violins and tuba at the apex to understand—so rare among artists—was innate in of moods and the development of ideas), I Involution series. an exact, irrefutable bits of colored cardboard hung on wires. an inkling witty, elegant, and often profound comment on the subject, the can make without killing the verge will boast of having tracked down our least eleven had intervened, and no us all the way back to the “big bang.” oneself at the mercy rather apt to render form seldom encountered in musical while indulging in the caresses of the inferential and the brain, and it is composed of geometry—an estimation a knife, a bottle or sensitivity and mathematics, a harvest released among all the branches of the “gray theory” should make an apprenticeship in the necessary
pull a loaded freight car even for a rather futile and undesirable pastime—I the abstract, the tricky, the mystical, the mechanical, the erotic. unnatural, arbitrary, rigid and inelastic determined by dropping perpendiculars from them to
the following monumental machines, sensitivity and mathematics, a harvest of prodigious Mr. Disney’s musical mimicries. I index them in a book. fundamental human experience, dim One excerpt from this recording appears in a It is today still burdened with unessential studies brave—only The discrepancy between the requirements of larger forms and the simple of supplementary statutes which work, react violently against consecration to this aim is to be aided and reinforced by time, and the Chinaman replies that he would be
more subtle and complex than those of snowflakes, but their principle is the very thing that cannot be controlled, manufactured, or premeditated any field, and since this was buried away in be the final, devilish degradation of the most spiritual is a cruel deceit. the price of not as quiescence collision of hail and ostensible observations about musical relations turn can square and cube get an accurate count, would be flabbergasting. But it is preposterous to call the brass, but the bottom that disturbed is internally redundant, and this involves repetition of a long pole with a chicken of legal status to a misapprehension which an occupation for moles, of vague intuition and nebulous notions.
inadmissible to couple such sober concepts as both epithet and art is ahead of might be animated by an itch to use show that i was not biased one way or to avoid having to spend their time mumbling and horizontally, it also comprises whims and, as such, in the oboe and trombone, space has more than a local effect. of bullets adding their punctuations to those with adequate were devised with the spots of dice, a pastime a binary situation with all of its variations in for love or war or wine instead of symptoms of almost always out of an urge to emulate by means of stock formulas, technical or be smothered and not with the secular to dismiss a whole is it a terrific solution but At this point the brain begins to reel. thing, finding and deciphering ‘secret affinities’ in the virgin domain where under a similar emergency, would show a not inconsiderate amount of certain times, moving arms or adjusting embouchures or capacity for repudiating them is sway; technical device to the rank and importance tumbler without calling in grammar and syntax. fiends and quit his laboratory because he knows that he be an agnostic when the chips are One excerpt from this recording appears in a record album the bishop’s move along the diagonals— It’s about a farmer who is irrigating the land with obsession with numbers, not incidentally, barely perceptible irregularities which infuse everybody’s eggs? . . . and join it regularly for emphasis with the adjectives the animals, postulate a new parable about time, but that is little more conviction than sophistries are a total absurdity, and indeed almost congenial to begin support less perishable than the impulse a farmer who is irrigating the fight which the human intelligence wages in to be blasphemed of these etudes . . . comes indignation, here and there let the cat out
their curricula with to elevate, edify, explain, and
being “dull because it satisfies especially conspicuous detail in the fifteen minutes with resentment “Premiered in Chicago, the stilted, lifeless performance certify to a certain Its twin capacities to mean all and yet nothing represent between our tolerance of deviations from the ratio of 2:1 is more powerful than many other similar but casual were, after all, pretty It is infinitely more “true” than the wretched tumor or its ragged contours demand to fever curves, cooking recipes, railroad will not explain why the peaks are point out the cardinal cold at the border of this mystic area. an additional, transposed equation recommended to heighten the exacerbated during the Others say “syllogistic.” from one stratum of the texture to any other who by race, can be incorporated into a practical repertoire. who had artistic aspirations. broached, recognizing the a mad collection moon, might we not all of us look through composing zealot who wants to be up to date. deprive the term of its scientific aura. reaped from numbers: idea], it seemed quite inadmissible to couple to (b), the germ of questions and others must be probed other words a sonata form without directions . . . and puts verbs and nouns on disciplines for the adolescent mind, or avowing that all we’re dealing with glass, at the border of this notion implies the aspect of the fluid, hell follows The clutter of the an absurd mechanistic project, to be guilty of pretentious caprice. inherited from the modal
over a longer time span than the other a cloak (quite genuinely tragedy occurred long before My eye caught the word Then the impact between the demonstrators and the enemy occurs. all, natural events such as the collision of as an intellectual perversion of nature, consider the is supposed to elevate, edify, explain, and reservoir in beyond, two parts adoration and retire to business on ten acres and dig potatoes deferentially up to the present day and it certainly leaves us of arcs—both upward and downward—radiate from a I had a long pole with a chicken feather, and be panaceas which would solve in some music of which this earthly music is only a shadow. quarter-tone arcs (both rising and falling) in the muted of course, negligible for a set, and the augmented triad, which This cautious stepping is the limits of tessitura. even, that a congress of rigid objectivity, it escapes this compulsion haunt soldiers inspired embarked
prophets who proudly claim that they can, to a slight mystic haze when the subject the offending works are of an insidious -line, its curve or curves, its shape, its profile, to business on ten acres and the title augurs well), and though downward—radiate from a sort of fulcrum: rules—using a knight’s do, the doctrine about in a parallelepipedon, for it seems cleaner and perhaps to another, impoverishing the from the romantic adulation of the grandeur ugly—and hence we are glad . . . consequence is not an exigency of art. contours demand to be reproduced in than the wretched whimperings and the tentative wailings of
from following the intertwining and to check it out as far as basic operation was inspired this excursion when he the windows, this year, even though they’re fiction just as optics is the “geometry to the elective parts was not contrived with tongue in cheek.) streets the cheerful rudiments of chemistry and physics Moreover, by dint grandeur of machinery that the futurists inaugurated. study the eating habits of bats a fortress of reasoning and practicality, have lately been in loafing, it would in by a sort of inferiority complex in from these impasses, the remedies are obvious: the as the “salvation from the try to wriggle the performance is in town or country—that makes no instinctively feel to be related into a cauldron of figures, recklessly mixing mathematics and some despondency, and there by pouring written words numbers; the composer fled from other hand, condemned as representing are like the problem set by the king in the fairy am sorry to report no more than perhaps worse, a not much envy from makes and breaks theories, without pity and without of interjecting the slightest anecdotal set defeats the possibility The clutter of the unkempt forest. . . . consortium of concert subsequent sections (in other words a sonata form without the recapitulation). . . . of musical material) as an irrevocable law of
a bottle or a watch, waves and how they behave is
the stilted, lifeless performance aroused curiosity but not much dressed, and she came wearing available in extemporization. in the fairy tale who told the princess an arm of the state’s social policy. relax long enough to too, by going around the corner, linking with the beyond, two parts adoration of almighty forces—an festivals, or marching, or windy days. with greater pride it compels their respect, if not their worship. terms—can perfectly well be encompassed by the new cockleshells, maple leaves, sunflower seeds and many annoy me to spend most holy of all numbers, and the second, several brief preliminary
of confidence, an impotence and a has used only a tiny number of them, whereas if a fructifying that an immense distance must still bothered him because had to be for morning hours, or sunset, or a desperate surrender of finicky when it comes to our notice an attempt to free music from the clutches of the constrains us from venturing only that architecture is frozen advertised as having by ascertaining
For all its aberrations, the evidence of the senses a minimum
ominous that and measured in frequencies, in decibels, in
equals addition, . . . the erased And I regret to tell you, I am [“Verily I say to you: One conception is, in our terms, certainly a false one; a thing as live, serene wand, forgot at the birth of the work, react in such a yoke it was a magnificent display i two branches: the trivium, or the the arts were very compatible poor task in disguise. Through this conception of ornament the music acquires an almost mechanical extremely generous with praised the number (Zahl) time he felt bullied by such of age or sex, which incline
recorded it in a recording session sponsored by “That smells of oil.”) in any static, seizable form has always held fascination for the malignant as mathematics, logic, physics, chemistry, biology, genetics, paleontology (for only smile at seconds in the clarinet and bassoon; do, the doctrine about Art, occidental and oriental,
the primordial utterance . . . and the imposition of an abstract To borrow G. E. Moore’s be the real condensations of retire to business on ten acres and dig the flavor of something the sands of a technology that only an episode in the flow received a grant of such a nice, new, catchy absurdity was let loose; numerous distribution-tables pizzicati, one must know these aggressiveness is
suit the chord, the honeycomb frame of combined intervals, thought, which have in fact proved a dangerous threat to plug them into this, and you get 4000 permutations rehabilitate refuge from the undependable, a detonating calm, full daily work, whether it be hoeing corn or painting plunge into the delicate remnant for love or war or wine festivals or crowning an athlete. I expound the complete technique of and endurance. its own—once propelled roots of music were embedded in mathematics. . . . Adversaries have called me He conceals the order from himself by shuffling property ownership or yearly returns of income from all doctoral dissertation].
laureate Sir cutting a slice of chance. in the clarinet and to write pieces whose virtuoso demands go The clutter of the unkempt forest. . . . some air sailed back down this way and it cost ten little problem with all kinds of heavy hammers, violated by nonmusical intrusion, it who told the princess to come neither the ‘equals’ sign, hinting and gradually fanning out
not my purpose to frighten this, on which I stumbled recently while perusing pique turned to pleasure as the panel gamboled for nearly ubiquitous music: music to eat and enliven the whole Intuitive artists of great merit are usually endowed with great ‘between,’ ‘parallel,’ ‘congruent,’ ‘continuous.’ visual hell follows a detonating calm, full of despair, dust, and by truckling to the more ambitious composition is of interlocked probability a fixed conception of tradition, or of human experience, dim in some, shining in others, rare sciences, and the second category should plunge into the delicate sight, the more stars you see —plus their own mental laziness and cowardice. principles paid no heed to balance, groups of that this invention was not contrived with to enlighten one another and thus endeavour to promote —the challenge of [one], the tenderness of [another], the beyond the babblings of whine so as to achieve an absolute equilibrium. of studies designed to exploit a few features a dreadful system where two and doctoral and she came wearing fish What is the octave of a mezzo them of their splendor. an insidious “conspiracy.” piece of twelve-tone music—and won a prize with The crucial question remains: Do they last slogan breaks up in a huge Then the impact between the demonstrators and the enemy occurs. figures, recklessly mixing mathematics and of such ghosts, he prefers to set up an impersonal mechanism a while a clam the advantages of numerical calculations for elucidating and anticipating the results of close collaboration between is one topic he treats among other is a mosaic of static been industrious enough to reach their maximum will
it with a well-directed assault of sound what you will) and for any individual compensation because it is more nutritious, but in order to comply with a a caricature. acquainted with more “master patterns” than in qualifications rather than to not, however, his privilege nor
a misapprehension which is both honest and sincere. that eventually illuminates the background before he never could make a million dollars. Faithful to his Central European training, he holds but the evidence produced is frequently dubious deprive the term of its but, as is my custom in been overlooked by this tidal of organ burbling, rubber suction (indecent, this) machine- a knife, a bottle or a watch, is the born disciple, with a proselytizing fervor seldom —abandon them for the good laziness and at the same time more globally into the essence of money he can make without killing the goose of compromise scales and arbitrary working rules, “enrich” or contribute something warmer or more human, but of one of the tanks and and the arts, as distinguished from fun, have as social inflexibility follows from the initial conception of boast of having tracked down our mathematical vices. will become obsolete. the fairy tale who resist a critical blast at the mania for suffers from the kind I see arithmetic triumphing over the heart, prisoners are released from their padded seats that sounds like a riddle, it The Seasons . . . commissioned by the I am merely stressing the point that the Do they coalesce in their craziness.
benefits to be derived occult mathematical orders may exist on here becomes the victim of an a state of divine delirium, seems to be One thinks of the highly touted Schillinger system of the caresses and shortly it was a magnificent display i thought of With few exceptions “infinite possibilities” has meant collages Average persons will readily agree that pull a loaded freight car even for a quarter modes simultaneously, that savors each detail all Horns, antlers, cockleshells, maple leaves, sunflower seeds and many other natural skip from one stratum of the texture to historic or mythic same class as those who preach tips 127 googols of possible its peripherals have been view of finding financial these sham solutions whose charm lies Music is entering into medicine. pleasure in doing nothing, unless senility or who can exceed ten moves, but only the true bliss of amplitude, frequency, as an “art,” and “aesthetic” genus. differentiated by thickness is the smell of pork from the smell the manner of diophantine computation and strict over-all control is the tribute for protection exacted work from the encroachment of its pique turned to stilted, lifeless performance aroused years ago I had a rather heated argument for being “anarchistic” simply science, mathematics, or even certain far-flung regions of turn upon the storage pattern of integers (omissions and italics mine): “Concord between earns a grade of 3.2, it something that simply satisfies a bureaucracy? the picture demarcates
which adults lose and it would cease to be an art. of Greece it occupied a post of honor. language—grammar, rhetoric and pieces may be organized to engender of money he can make the orbit of the |
Auxiliary Notes | ||
#1512. This poem is for one to four voices. Words are colored red, blue, green or black. If there is only one voice, that voice should speak the blue words only. If there are two voices, one should speak the red words and the other should speak the green words. With three voices, one should speak the red words, a second should speak the blue words, and the third should speak the green words. If a fourth voice is used, that voice should speak the black words. In all cases, the words should be spoken in the order in which they appear in the poem, with voices alternating as needed. | #1749. Parenthetical words should be spoken a bit softer and faster than normal. Some lines contain an unmatched parenthesis. For example, see the line: "a cloak (quite genuinely". In such cases, all the words that follow (precede) an unmatched open (closed) parenthesis through to the end (beginning) of the line should be treated as parenthetical words. Note: Bracketed words (such as "[one]" in line 5) should be spoken normally. | |
#1758. | #3057. For a description of how this poem was written, see Method. | |
#3495. Lines that are indented and in a small font should be spoken a bit softer than normal. For example, see the line that begins with "more subtle". | #3523. Lines that are centered and in a monospaced font should be spoken a bit louder than normal. For example, see the line that begins with "and somewhat". | |
#4654. Words enclosed in single or double quotation marks should be spoken a bit louder and slower than normal. Some lines contain an unmatched quotation mark. For example, see the line: "accused of “wanting to have his cake". In such cases, all the words that follow (precede) an unmatched open (closed) quotation mark through to the end (beginning) of the line should be treated as quoted words. | #4657. Each line of this poem is an excerpt of writings by a particular composer on mathematical music. | |
#7106. The voices have differing opinions on the concept of mathematical music. The red voice is against it. The green voice is open to the idea. The blue voice is neutral. The opinion of the black voice is unknown. | #7505. A capital letter at the beginning of a line indicates the beginning of a new thought. A period, exclamation point or question mark at the end of a line indicates the end of the current thought. | |
#8324. For the word "bishop’s" (in line 2), "bishop" is blue and "’s" is black. For this, the blue voice should say "bishop". Then the black voice should say the /s/ sound. Other multicolored words should be spoken similarly. | #8327. Italicized words should be spoken a bit louder and slower than normal. | |
#9346. For a discussion of the term mathematical music, as it is used here, see the article What is Mathematical Music? | #9641. The word "a" could be pronounced "uh" (short u) or "ay" (long a). The word "the" could be pronounced "thuh" (short u) or "thee" (long e). In this poem, each voice should determine the pronunciation to be used for a particular instance of these words based solely upon the sequence of words that they speak; not upon the words spoken by other voices. |