The traditional symphony begins with a "tonic triad, a chord of three notes" and then goes on with straying varations of that (dissonance) and concludes with the return of the tonic. That's a quote and paraphrase from Jonah Lehrer. A symphony engages one in anticipation for the harmony of the beginning tonic. We keep expecting it to return but it is continually held off until the end. As Lehrer points out, Stravinsky contradicted that formula with his Rite of Spring.
What's a good book to read? Nobody has joined me in commenting on Lehrer's Proust Was A Neuroscientist. His book is really about aesthetics. WC --- On Thu, 10/23/08, armando baeza <[EMAIL PROTECTED]> wrote: > From: armando baeza <[EMAIL PROTECTED]> > Subject: Re: Envisioning > To: [email protected] > Cc: "armando baeza" <[EMAIL PROTECTED]> > Date: Thursday, October 23, 2008, 10:23 AM > As for music. create a melody with about thirteen notes. > Record it, > then balance it > with another one, on and on. And you're on your way to > being a composer. > > mando > On Oct 23, 2008, at 4:08 AM, Michael Brady wrote: > > > Question for Cheerskep and other writers: > > > > I happened to see an ad on a web site for Clint > Eastwood's new > > movie, "Changeling" (about a 1920s event in > LA in which a woman's > > infant was abducted, and when the police return the > child, she > > suspects it's a different boy). The basic story > line seemed like a > > pretty mundane "True Detective" kind of > thing. But it still got me > > to wondering: > > > > What is it about the kernel of a story that hooks you? > How do you > > go about envisioning a larger story? What is it that > makes you > > conclude that you want to write the full story (book, > play, etc.)? > > > > I know for myself how this happens when I paint or > draw a picture, > > or even attempt sculptures. But I don't have a > clue about writing > > stories. Or for that matter, since I have absolutely > no innate > > talent for music, how a composer goes about developing > a song or > > longer composition. > > > > Aside from my intrigue with this question, I think the > answers can > > shed some light on how what we call > "aesthetics" is incorporated in > > the actual making or developing of a work. > > > > > > | | | | | | | | | | | | | | | | | | | > > Michael Brady > > [EMAIL PROTECTED]
