Re: Envisioning

Thu, 23 Oct 2008 17:41:30 -0700 

I don't think Michael has the desire to become a classical composer.
 A little melody with some variation would probably do with him.
mando

On Oct 23, 2008, at 5:14 PM, William Conger wrote:
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.


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Michael Brady
[EMAIL PROTECTED]

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