arizona hardcore punk rock flyer archive 1982-1984 SheetzBox - Free Piano Sheet Music What Music Really Is Properties of musical modes Modern Dorian mode on C Play Early Greek treatises on music do not use the term "mode" (which comes from Latin), but do describe three interrelated concepts that are related to the later, medieval idea of "mode": (1) scales (or "systems"), (2) tonos—pl. tonoi—(the more usual term used in medieval theory for what later came to be called "mode"), and (3) harmonia (harmony)—pl. harmoniai—this third term subsuming the corresponding tonoi but not necessarily the converse (Mathiesen 2001a, 6(iii)(e)). Greek Dorian octave species in the enharmonic genus, showing the two component tetrachords Play Greek Dorian octave species in the chromatic genus Play Greek Dorian octave species in the diatonic genus Play The Greek scales in the Aristoxenian tradition were (Barbera 1984, 240; Mathiesen 2001a, 6(iii)(d)): These names are derived from Ancient Greek subgroups (Dorians), one small region in central Greece (Locris), and certain neighboring (non-Greek) peoples from Asia Minor (Lydia, Phrygia).
The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place | Interference By Lawson Fletcher Abstract Amongst the ways in which it maps out the geographical imagination of place, music plays a unique role in the formation and reformation of spatial memories, connecting to and reviving alternative times and places latent within a particular environment. Post-rock epitomises this: understood as a kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial erasures of late capitalism. Introduction: sonic cartography Music sounds out space in fundamentally dynamic and often disjunctive ways, it is not simply a product of its environment. This article argues that post-rock as critical artistic practice can be seen as a sonic cartography: a unique means of affectively mapping the ‘geographical imagination’ (Massey 1999) of a place through sound. This essay investigates these complex dimensions of memory, affect and meaning within the sonic cartography of post-rock. Post-rock and the auditory drift
Archive | Interference The project for A Sonic Geography began with a recognition of the vibrancy and increasing significance of various bodies of work on auditory space. Practices such as aural architecture, soundscaping, spatial music and sonic sculpture now find a non-specialist public and an institutional legitimacy that fosters future development. Moreover, theoretical research tracing sonic phenomena as cartography, site-specific signifier, or spatial strategy has acquired a new maturity in recent years. Interference wishes to progress this interaction between theoretical reflection from different domains of research and sustained practical experimentation as it generates new possibilities for auditory spatial awareness. Issue Contents Issue Contents
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