The Mellotron Group

>
> Even as a KC fan, this sort of thing makes me *despair*.
> 
>  From David Cross' diary:
> 
> /"I have just scanned through a preview copy of Andrew Keeling's 
> 'Musical Guide to Larks' Tongues in Aspic by King Crimson'. In this book 
> Andrew has applied some powerful analytical tools, deconstructing tonal 
> and metrical materials using Bartok's Axis system of tonality, the 
> Golden Section and the Fibonacci series. He has also engaged with the 
> ritualistic, occult and mystical components implicit in the album 
> through the lens of Jungian psychology and revealed some fascinating 
> numerical symbolism (particularly around the number 5) whilst developing 
> a finely argued view of the music's place in the spectrum of rock. 
> Andrew recognises the developmental importance of LTIA in uniting 
> disparate musical features within a shared language as opposed to the 
> polystylism of earlier progressive rock."/
> 
> -- 
> Mike Dickson, Edinburgh
> 
> Free Music Project: http://www.mikedickson.org.uk/ 
> Or http://www.last.fm/music/Mike+Dickson                  
> Or http://soundcloud.com/mikedickson
> Or http://www.planetmellotron.com/revd4.htm#mikedickson   
> Or http://www.myspace.com/mellotronworks
>

He left out I Ching, Godel's theorem and the mandlebrot set.

--- In newmellotrongroup@yahoogroups.com, Mike Dickson ...> wrote:
>
> Even as a KC fan, this sort of thing makes me *despair*.
>
> From David Cross' diary:
>
> /"I have just scanned through a preview copy of Andrew Keeling's
> 'Musical Guide to Larks' Tongues in Aspic by King Crimson'. In this book
> Andrew has applied some powerful analytical tools, deconstructing tonal
> and metrical materials using Bartok's Axis system of tonality, the
> Golden Section and the Fibonacci series. He has also engaged with the
> ritualistic, occult and mystical components implicit in the album
> through the lens of Jungian psychology and revealed some fascinating
> numerical symbolism (particularly around the number 5) whilst developing
> a finely argued view of the music's place in the spectrum of rock.
> Andrew recognises the developmental importance of LTIA in uniting
> disparate musical features within a shared language as opposed to the
> polystylism of earlier progressive rock."/
>
> --
> Mike Dickson, Edinburgh
>
> Free Music Project: http://www.mikedickson.org.uk/
> Or http://www.last.fm/music/Mike+Dickson
> Or http://soundcloud.com/mikedickson
> Or http://www.planetmellotron.com/revd4.htm#mikedickson
> Or http://www.myspace.com/mellotronworks
>

>
> Anyone looking for a one-way ticket to Bollocksville should look no 
> further than this:
> 
> http://www.songsouponsea.com/Promenade/ChapterOne.html
> 
> Seriously. This guy is off his tits. Seriously. This is one of the 
> (many) reasons we felt we had to draw a halt to Elephant Talk.
> 
> Mike
> 
> markpringnz wrote:
> >  
> >
> > He left out I Ching, Godel's theorem and the mandlebrot set.
> >
> > --- In newmellotrongroup@yahoogroups.com 
> > <mailto:newmellotrongroup%40yahoogroups.com>, Mike Dickson 
> > <mike.dickson@> wrote:
> > >
> > > Even as a KC fan, this sort of thing makes me *despair*.
> > >
> > > From David Cross' diary:
> > >
> > > /"I have just scanned through a preview copy of Andrew Keeling's
> > > 'Musical Guide to Larks' Tongues in Aspic by King Crimson'. In this 
> > book
> > > Andrew has applied some powerful analytical tools, deconstructing tonal
> > > and metrical materials using Bartok's Axis system of tonality, the
> > > Golden Section and the Fibonacci series. He has also engaged with the
> > > ritualistic, occult and mystical components implicit in the album
> > > through the lens of Jungian psychology and revealed some fascinating
> > > numerical symbolism (particularly around the number 5) whilst 
> > developing
> > > a finely argued view of the music's place in the spectrum of rock.
> > > Andrew recognises the developmental importance of LTIA in uniting
> > > disparate musical features within a shared language as opposed to the
> > > polystylism of earlier progressive rock."/
> > >
> > > --
> > > Mike Dickson, Edinburgh
> > >
> > > Free Music Project: http://www.mikedickson.org.uk/ 
> > <http://www.mikedickson.org.uk/>
> > > Or http://www.last.fm/music/Mike+Dickson 
> > <http://www.last.fm/music/Mike+Dickson>
> > > Or http://soundcloud.com/mikedickson <http://soundcloud.com/mikedickson>
> > > Or http://www.planetmellotron.com/revd4.htm#mikedickson 
> > <http://www.planetmellotron.com/revd4.htm#mikedickson>
> > > Or http://www.myspace.com/mellotronworks 
> > <http://www.myspace.com/mellotronworks>
> > >
> >
> >
>

> From David Cross' diary:
>
>/"I have just scanned through a preview copy of Andrew
>Keeling's  'Musical Guide to Larks' Tongues in Aspic by
>King Crimson'. In this book  Andrew has applied some
>powerful analytical tools, deconstructing tonal  and
>metrical materials using Bartok's Axis system of tonality,
>the  Golden Section and the Fibonacci series. He has also
>engaged with the  ritualistic, occult and mystical
>components implicit in the album  through the lens of
>Jungian psychology and revealed some fascinating  numerical
>symbolism (particularly around the number 5) whilst
>developing  a finely argued view of the music's place in
>the spectrum of rock.  Andrew recognises the developmental
>importance of LTIA in uniting  disparate musical features
>within a shared language as opposed to the  polystylism of
>earlier progressive rock."/
>
>-- 
>Mike Dickson, Edinburgh
>
>Free Music Project: http://www.mikedickson.org.uk/ 
>Or http://www.last.fm/music/Mike+Dickson                  
>Or http://soundcloud.com/mikedickson
>Or http://www.planetmellotron.com/revd4.htm#mikedickson   
>Or http://www.myspace.com/mellotronworks
>
>

>
> Even as a KC fan, this sort of thing makes me *despair*.
> 
>  From David Cross' diary:
> 
> /"I have just scanned through a preview copy of Andrew Keeling's 
> 'Musical Guide to Larks' Tongues in Aspic by King Crimson'. In this book 
> Andrew has applied some powerful analytical tools, deconstructing tonal 
> and metrical materials using Bartok's Axis system of tonality, the 
> Golden Section and the Fibonacci series. He has also engaged with the 
> ritualistic, occult and mystical components implicit in the album 
> through the lens of Jungian psychology and revealed some fascinating 
> numerical symbolism (particularly around the number 5) whilst developing 
> a finely argued view of the music's place in the spectrum of rock. 
> Andrew recognises the developmental importance of LTIA in uniting 
> disparate musical features within a shared language as opposed to the 
> polystylism of earlier progressive rock."/
> 
> -- 
> Mike Dickson, Edinburgh
> 
> Free Music Project: http://www.mikedickson.org.uk/ 
> Or http://www.last.fm/music/Mike+Dickson                  
> Or http://soundcloud.com/mikedickson
> Or http://www.planetmellotron.com/revd4.htm#mikedickson   
> Or http://www.myspace.com/mellotronworks
>

-----Original Message-----
From: lsf5275@aol.com
To: newmellotrongroup@yahoogroups.com
Sent: Sun, Jan 10, 2010 12:01 am
Subject: Re: [newmellotrongroup] [OT] Despair


  
    
                  

This makes me want to go right to sleep!
 

In a message dated 1/9/2010 10:15:40 P.M. Eastern Standard Time, mike.dickson@gmail.com writes:
    
  
Even as a KC fan, this sort of thing makes me *despair*. 

From David   Cross' diary:

"I have just scanned through a preview copy of Andrew   Keeling’s ‘Musical Guide to Larks’ Tongues in Aspic by King Crimson’. In this   book Andrew has applied some powerful analytical tools, deconstructing tonal   and metrical materials using Bartok’s Axis system of tonality, the Golden   Section and the Fibonacci series. He has also engaged with the ritualistic,   occult and mystical components implicit in the album through the lens of   Jungian psychology and revealed some fascinating numerical symbolism   (particularly around the number 5) whilst developing a finely argued view of   the music’s place in the spectrum of rock. Andrew recognises the developmental   importance of LTIA in uniting disparate musical features within a shared   language as opposed to the polystylism of earlier progressive rock."

-- 
Mike Dickson, Edinburgh

Free Music Project: http://www.mikedickson.org.uk/ 
Or http://www.last.fm/music/Mike+Dickson                  
Or http://soundcloud.com/mikedickson
Or http://www.planetmellotron.com/revd4.htm#mikedickson   
Or http://www.myspace.com/mellotronworks

>
> Even as a KC fan, this sort of thing makes me *despair*.
> 
> From David Cross' diary:
> 
> /"I have just scanned through a preview copy of Andrew Keeling's 
> 'Musical Guide to Larks' Tongues in Aspic by King Crimson'. Inthis book 
> Andrew has applied some powerful analytical tools, deconstructingtonal 
> and metrical materials using Bartok's Axis system of tonality, the  
> Golden Section and the Fibonacci series. He has also engaged withthe 
> ritualistic, occult and mystical components implicit in the album 
> through the lens of Jungian psychology and revealed somefascinating 
> numerical symbolism (particularly around the number 5) whilstdeveloping 
> a finely argued view of the music's place in the spectrum of rock.  
> Andrew recognises the developmental importance of LTIA in uniting 
> disparate musical features within a shared language as opposed tothe 
> polystylism of earlier progressive rock."/
> 
> -- 
> Mike Dickson, Edinburgh
> 
> Free Music Project: http://www.mikedickson.org.uk/  
> Or http://www.last.fm/music/Mike+Dickson  
> Or http://soundcloud.com/mikedickson
> Or http://www.planetmellotron.com/revd4.htm#mikedickson  
> Or http://www.myspace.com/mellotronworks
>

-----Original Message-----
From: Tron400 <kornowicz@cox.net>
To: newmellotrongroup@yahoogroups.com
Sent: Sun, Jan 10, 2010 9:30 am
Subject: [newmellotrongroup] Re: [OT] Despair


  
    
                  


--- In newmellotrongroup@yahoogroups.com, Rick Blechta <rick@...> wrote:
>
> 
> On Jan 10, 2010, at 12:01 AM, lsf5275@... wrote:
> 
> > In a message dated 1/9/2010 10:15:40 P.M. Eastern Standard Time, mike.dickson@... writes:
> >  
> > Even as a KC fan, this sort of thing makes me *despair*. 
> > 
> > From David Cross' diary:
> > 
> > "I have just scanned through a preview copy of Andrew Keeling's `Musical Guide to Larks' Tongues in Aspic by King Crimson'. In this book Andrew has applied some powerful analytical tools, deconstructing tonal and metrical materials using Bartok's Axis system of tonality, the Golden Section and the Fibonacci series. He has also engaged with the ritualistic, occult and mystical components implicit in the album through the lens of Jungian psychology and revealed some fascinating numerical symbolism (particularly around the number 5) whilst developing a finely argued view of the music's place in the spectrum of rock. Andrew recognises the developmental importance of LTIA in uniting disparate musical features within a shared language as opposed to the polystylism of earlier progressive rock."
> > 
> I firmly believe that 99% of the musicologists are completely full of shit. The other 1% don't like music.
>

One of my former bandmates who's now with the New York Brass Quintet had a professor that claimed the great classical composers used mathematical formulas to write their music. I would think that they sat down at a piano, played a few notes and if they didn't like sound, changed them around until they did like the sound.

Bernie