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Kvasir
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Kvasir

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyWed Aug 07, 2019 8:48 pm

Check a book entitled : The Agony of Modern Music, by Henry Pleasents. It is a good read about the evolution of modern music focusing mainly on the classical generation of geniuses; specifically the Wagnerian revolution.

The elimination of melodious complexity in modern music is another form of dumbing down associated with doing away with aspects that stimulate abstract thinking. A symphony, a chamber orchestral piece, an opera, are like poems, in the form of sounds, that inspire the imagination. The monotony and drabness in modern music is why it can be played everywhere as background noise, in every public vicinity, because it has no depth, no melody, other than simplistic beats that become lodged into the mind. Modern Crappers, rely on mindless repetitiveness, as an easy way to force people to remember their shit songs, and then they throw in that tribal electronic dance excrement, in to compensate for the mediocrity and appeal to peoples sensuality and hedonistic proclivities.

The 80’s and 90’s rock era was a science in using repetition in their music. Which is why those songs are overplayed to the point of making one vomit. They are easy to listen to, easy to remember and require no effort to understand, and the tunes are catchy enough to force one to remember even against their will; the age of overplayed music has become so much like a contagion on society that it has turned into a form of mind control. I can’t count the number of annoying fucks ive come across who can’t think about music without referencing some overplayed piece of shit.
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Slaughtz



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PostSubject: Re: C-RAP C-RAP - Page 5 EmptySun Aug 18, 2019 11:30 pm

'Progressive'

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Magnus Anderson

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyMon Aug 19, 2019 5:46 pm

Kvasir wrote:
The 80’s and 90’s rock era was a science in using repetition in their music.

I think that 80's and 90's were quite melodic in comparison to 00's and 10's.



2003 seems to be the turning point.
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Satyr
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyWed Oct 30, 2019 7:30 pm




This is what Negroes love to do.
The put-down and self-aggrandizing rhyme to a beat...with lots of pop-cultural references to imply more than simplistic language can express.
Sometimes the words are warped to fit into the rhythmic sequence adhering to a specific beat.
This is what they consider clever.

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Satyr
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Oct 31, 2019 9:53 am




In the last one dis cracker splains how to spit verses...free-styles...


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Satyr
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyMon Nov 11, 2019 6:52 am

If you want to understand who is promoting cRAP music and has made Negro (slave, victim) culture the dominant meme in the US, should start with the book being reviewed here.

Their admiration for blacks and the primitive, the physicality they represent, goes further not their psychology than the book explores.
Cultivating mind has a cost which produces insecurities that are expressed through sexual fetishes.
Using proxies, such as Negroes, to dilute and destroy European culture is part of their mo.

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Satyr
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyFri Nov 22, 2019 9:18 am



Is this boy-band phenomenon comparable to the Beatles or even the Rolling Stones phenomenon of my time?
Do the Backstreet Boys or Nsync compare?

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Satyr
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyWed Mar 18, 2020 12:47 pm

Nietzsche, Friedrich wrote:
...our ears have become increasingly intellectual. Thus we can now endure much greater volume, much greater ‘noise’, because we are much better trained than our forefathers were to listen for the reason in it. All our senses have in fact become somewhat dulled because we always inquire after the
reason, what ‘it means’, and no longer for what ‘it is’ … our ear has become coarsened. Furthermore, the ugly side of the world, originally inimical to the senses, has been won over for music …
Similarly, some painters have made the eye more intellectual, and have gone far beyond what was previously called a joy in form and colour. Here, too, that side of the world originally considered ugly has been conquered by artistic understanding. What is the consequence of this? The more the eye and ear are capable of thought, the more they reach that boundary line where they become asensual.
Joy is transferred to the brain; the sense organs themselves become dull and weak. More and more, the symbolic replaces that which exists.

Detachment from reality.

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Satyr
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyWed Mar 18, 2020 12:53 pm

McGilchrist, Iain wrote:
The problem of modernism, as Sass points out, is one of excessive self-consciousness. The question of what style to espouse, and with it the need to make a conscious decision to be something never before seen or heard, began to be more and more oppressive from the period of the later Romantics onwards – composers not just being intuitively drawn to imitate something they had heard elsewhere, as in the past, but deliberately inventing themselves and their art, rather than discovering it. This resulted, perhaps inevitably, in the decision to abandon our intuitive sense of harmony, melody and tonality.

It may seem unjustifiable to speak of an intuitive sense of harmony, melody or tonality, since these are now widely believed to be purely culturally determined, with the implication that they could be refashioned at will. But that is not the case at all. Music, of course, evolves, and what constitutes harmony, for example, has changed slowly over the course of time. The dominant seventh was considered a discord until the nineteenth century, and even the major third was once – in organum, therefore until the fourteenth century – considered a discord. (This is in itself fascinating, because it shows that the ‘melancholy’ minor third was accepted before the more ‘optimistic’ major third.) But generally there is intercultural understandability. Mongolian music, for example, does not sound harmonically incomprehensible, and certainly not unpleasant, to the Western ear. The acceptability and emotional meaning of music is not purely culture-bound. In fact it is almost universal. For example, Norwegians acculturated to a Western musical tradition make precisely the same associations between particular emotions and particular musical intervals as are made in Ancient Indian music – a radically different musical tradition.98 This would accord with most Westerners’ experience of Indian music, acknowledged as it is to be complex and based on different musical principles from our own.
Studies of adults from different cultures, and from different generations, studies in preverbal infants and even studies in animals and birds, show remarkable agreement in what is perceived as consonant and pleasurable, and what is seen as dissonant and disagreeable. Specifically there are universal natural preferences at the physiological level for harmony over dissonance. Harmony causes changes in the autonomic nervous system, with a slowing of the heart.101 Dissonance activates areas of the brain associated with noxious stimuli, and harmony areas associated with pleasurable experience. Babies as young as four months old prefer consonance to dissonance, and infants already associate the minor key with sadness. In terms of the hemispheres, the right hemisphere is more sensitive to harmony, more involved in the processing of it, and more sensitive to the distinctions between consonance and dissonance. And there is a specific right hemisphere link with processing consonance, and a left hemisphere link with processing dissonance.
The appreciation of harmony is inherently complex. It is the last aspect of musicality to develop, beginning around the age of six, and reaching maturity only by puberty. Harmony in music is an analogue of perspective in painting. Each produces what is experienced as ‘depth’: each is righthemisphere-dependent. They developed together at the same time in the Renaissance; and, similarly, they declined together with modernism, harmony becoming more precarious as painters such as Picasso started deliberately disorientating the viewer through manipulation of perspective.
Bach's music is full of discords, and one would have to be musically deaf not to appreciate them – in both senses of the word ‘appreciate’, because such moments are especially to be relished, as are the wonderful passing dissonances and ‘false relations’ in the music of, for example, Byrd and his contemporaries. But they are introduced to be resolved. The same element that adds relish to the dish makes it inedible if it comes to predominate. The passing discords so frequent in Bach are aufgehoben into the wider consonance as they move on and resolve. Context is once again absolutely critical – in fact nowhere can context be more important than in music, since music is pure context, even if the context is silence. Thus, in harmony as elsewhere, a relationship between expectation and delay in fulfilment is at the core of great art; the art is in getting the balance right, something which
Bach consummately exemplifies. There is an enormously subtle range of emotional expression over the entire range of the harmonic, with the tiniest changes making enormous differences in meaning. But we cannot make the same subtle discriminations of emotional timbre between discords, because the human nervous system, and the mammalian nervous system from which it derives, appreciates discord as distress, so that all threatens quickly to become merely angst-ridden, and the emotional range is inevitably reduced. The sound of modernist music tends to be intrinsically alien, minatory, which is why it is used in films to convey a sense of some frightening ‘other world’ (for example, at points where such an effect was required in the film 2001, Ligeti replaced Strauss).
The left hemisphere plays an important part in rhythm perception, though more complex rhythms are right-hemisphere-dependent106 and rhythmic skills are preserved in total left-hemisphere ablation.
Despite Plato's assertion that rhythm comes mainly from the mind, which possibly reflects more on Plato than it does on rhythm, there are again limits to what the human frame can experience and what the human brain can appreciate. Honegger is supposed to have said:
Honegger wrote:
I myself remain very sceptical about these rhythmic refinements. They have no significance except on paper. They are not felt by the listener … After a performance of Stravinsky's Symphony in Three Movements the players in the orchestra all remarked: ‘One has no time to listen or appraise. One is too busy counting eighth notes.’

Many composers, as might be imagined, have found themselves ambivalent about the process. Tippett lamented the loss of melody, described by Haydn as ‘that which is most difficult to produce – the invention of a fine melody is a work of genius’, and by Mozart as ‘the essence of music: I should liken one who invents melodies to a noble racehorse, and a mere contrapuntist to a hired posthack’.
Hindemith was sceptical of serial music, likening it to one of ‘those sickeningly wonderful merry-go-rounds on fairgrounds and in amusement parks … the idea is, of course, to disturb the customer's feeling of gravitational attraction by combining at any given moment so many different forms of attraction that his sense of location cannot adjust itself fast enough.’ The lack of tonal centres destroys the listener's anchor point for hierarchies of intervals. Although the composer may understand where he is going, the listener simply cannot, because we do not have sufficient short-term memory to cope with this degree of apparent formlessness.

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Anfang

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyWed Mar 18, 2020 1:00 pm

Satyr wrote:

Is this boy-band phenomenon comparable to the Beatles or even the Rolling Stones phenomenon of my time?
Do the Backstreet Boys or Nsync compare?  

I think all those mass-ive "hit bands" are essentially a product of music companies and their marketing. They are promoted and that's what makes them so popular. Doesn't mean they all have to be musically bad but I think it's all in the hands of those who promote them and they also have a say in how they behave, how they look, what music they sing/play (when they still played instruments)...
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