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

'Progressive'

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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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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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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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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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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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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Jun 04, 2020 6:50 am



I do not have a specific genre of music, or art in general, which I always fall back on because I found myself appreciating different styles from different artists depending on my mood.
I listen to anything from country to classical, and from traditional Greek, to cRap.

Being an empath I am more attracted to genuine emotion, and not the contrived, recipe driven formulaic, inspired by making money or creations fulfilling contract obligations.
Yet, I prefer melodic music rather than primal, drum centred primal music.
Not a fan of Jazz, but I have heard some interesting pieces...and cRAP is mostly trash for primitive minds and their libidinal anger.
So, unless I'm not in a state of rage, sexual frenzied, or in an angry mood, I don't care for cRap.
I can find comparable outlets in Heavy Metal, which is also more European centred and closer to my natural impulses.  

I consider melodic music and songs that merge beautiful sequences of notes - melody, harmony - combined with interesting lyrics to be of the highest quality.

Classical is a form that can sweep me away if I allow it, but it requires attention and solitude to fully appreciate it.

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Kvasir
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Jun 04, 2020 8:25 am

Music can arguably be considered the highest form of abstract thought. This is why many philosophers explored it and were fascinated by it. To conjure up a mental model which extrapolates from certain sound waves which will then stimulate thought patterns that configure the sounds into "harmony" "form" and "structure", is a notable accomplishment of genius.

Instrumental music is my choice. Non-lyrical. For some reason, lyrics and music don't mesh well with me. They are like two forms of intellectual engagement clashing with each other. I don't like the way lyrics have to reduce the quality or complexity of the melodies in order to stand out. I'm just not very fond of it, even though there are exceptions; for example i can appreciate Johnny Cash. Poetry and music don't mix for me. I like to appreciate them separately. Choral ensembles or arias are different, they have more depth and power.

For me, it's Baroque classical. Specifically Baroque because it succeeds so well in stimulating both the intellectual as well as the sensual together in great harmony. Baroque uses a complexity of deeply melodic and energetic styles. A good composition will have movements that are thought-provoking, deeply imaginative and brooding, and than immediately transpose into a thrust of power and sensuality, with the intention of lifting the individual out of his "brooding" state, as if a nymph came along and pulled you up from the ground of your reverie and began dancing with you. Vivaldi is a perfect example of Baroque genius. He masterfully uses this method of highs and lows playing on the mood and the intellect, stimulating mind and body into a whole affect. Ones whole self is engaged when listening to Baroque.

As far as "rebellious music" being a marker of intelligence as he explains. Couldn't say one way or the other. The term "Rebellious music" in itself seems banal. If you are going to listen to music, do it for spiritual or sensual/intellectual reasons, not for some socialized notion of "rebelling" or "being different". Simpletons think that way. This is why Classical rock on the 80s and 90s was so successful. It catered to peoples socialized mindsets and disgruntled institutional attitudes. It's also why i grew to dislike it. Seeing it for how repetitive it is and lacking in any real form; just beats and catchy tunes that are designed to get stuck in your head and annoy you. Music that is used in retail stores and nearly every other public domain to play overhead and drone on, as classical rock music has now been reduced to, speaks to its mediocrity and inanity.

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Jun 04, 2020 8:48 am

You need to be sufficiently intelligent to be a "rebel". Doesn't mean you have to be an independent thinker or have a sensible cause for your rebellion. But intelligent enough to retain this conceptual idea of your rebelliousness. Kind of like you have to be sufficiently intelligent to be a Marxist, intelligent enough to retain all the narratives and concepts and way of thinking. Doesn't matter if they are perceptive or true.

Have you seen those lengthy leftwing memes? They fill the whole frame with speech bubbles and text because it's always complicated BS arguments. Noting is obvious, it all has to be explained because if someone were to just look around in the world nobody would come to their conclusions.
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Jun 04, 2020 9:13 am

Good songs are rare because lyrics, delivered by the instrument of the human voice, must harmonize with a instruments, creating a beautiful melody.
the difficulty is to not contradict the essence of the melody - its emotion, with the concepts expressed verbally.

Poetry is a melody if written properly and with talent.
The words remain meaningful but also have an underlying rhythm that does not contradict the mood of the concepts expressed linguistically.
Marrying music with poetry is fine art.

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Kvasir
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Jun 04, 2020 10:28 am

Anfang wrote:
You need to be sufficiently intelligent to be a "rebel". Doesn't mean you have to be an independent thinker or have a sensible cause for your rebellion. But intelligent enough to retain this conceptual idea of your rebelliousness. Kind of like you have to be sufficiently intelligent to be a Marxist, intelligent enough to retain all the narratives and concepts and way of thinking. Doesn't matter if they are perceptive or true.

Have you seen those lengthy leftwing memes? They fill the whole frame with speech bubbles and text because it's always complicated BS arguments. Noting is obvious, it all has to be explained because if someone were to just look around in the world nobody would come to their conclusions.

Rebelliousness as an "instinct" correlated to intelligent awareness I can understand. And I'm sure as an evolutionary scientist that's what Dutton was getting at. What I was getting at on the other hand, was this instinctual propensity in a ideological socialized context; as an idealist mentality related to certain types of music. Hence, when this instinct is given meaning in those types of music it seems simpleminded because at that point you are engaging in something more contrived, a silly pretension of the instinct.

Now, if you have an awareness of this contrivance than perhaps you can listen to it with more intelligence, knowing what it is and why is has certain affects on you and be able to avoid the ideological trappings. But most don't do it for these intelligent reasons. They do it to be trendy. I've seen too many examples of these kinds of minds in the real world to ever convince me otherwise.

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Jun 04, 2020 10:49 am

Maybe it's that those people don't really care about the quality of the music.
Who are those people who like modern architecture?
Maybe they like certain ideas about what this architecture represents and simply don't care about the aesthetics.
I'm pretty sure there is a correlation between liking/defending common modern architectural trends and intelligence. Because if you are not so intelligent you either don't like the aesthetics, or you don't care about aesthetics in general and at the same time you don't care about those ideas associated with it. If you are intelligent you might not care about aesthetics yet like certain concepts associated with it.

Those who are capable of intellectualising something and have created some sort of fetish about it tip the scale towards intelligent people preferring modern ####.
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Jun 04, 2020 11:16 am

There is good art and bad art for very good reasons. Art is an imitation of nature. Some of these imitations are appealing and beautiful, like Bernini, or ugly and stupid like Pollack. Aspects or details of appeal should not be confused for attributing a whole form of beauty to it. This is how discrimination works and how conclusions are arrived at. Something will either have more or less symmetry or asymmetry. More of one or the other will be indicative of the true nature of the whole.

I'm a rejector of most modern things. Rock music is a mediocre invention of modernity, no matter what. At least being aware of that reality, won't interfere with one's preference in listening it. For me, it does.

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyThu Jun 04, 2020 11:23 am

Art is the projection of an individuals relationship with reality.
It externalizes internal reactions and attitudes.

By doing so it exposes the spirit of the artist and of those who can relate with his art.
Beneath the image, the pretense, this is an indication of what is lying in, and, hiding.

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Satyr
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PostSubject: Re: C-RAP C-RAP - Page 5 EmptySun Jan 31, 2021 2:27 pm

Now that everyone hates straight white males...who is the counter-culture rebel and who is part of the establishment?









The lesson?
What is base and inferior can be imitated and replicated surpassing the original...what is superior cannot.

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptySat Jul 03, 2021 9:27 pm



Having successfully introduced homosexuality and transsexuality into modern western consciousness, and having normalized it, we are now on the pædophilia bandwagon....normalizing paedophilia an d then, why not, bestiality.

But, collapse will force the degenerates elites whoa re promoting this shit to pull back before it is ever finalized.
This is the end phase of Americanism - degeneracy and desperation reaching its postmodern apex - its dying throws; its logic remaining consistent with its foundational principles.
Seek the source in Cabbalism.

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptySat Jul 17, 2021 11:56 am


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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyWed Jul 21, 2021 7:40 am


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PostSubject: Re: C-RAP C-RAP - Page 5 EmptyWed Jul 21, 2021 7:53 am



All they "cRap" about is money, hos and luxuries...
Money = messiah.

They want to be delivered from their impoverished heritage. Their poor potentials.
Hedonism is how they escape, distract themselves from their reality, their presence.
Opulence is how they bury themselves in trending pop-cultural symbols that compensate for what is beneath it all.
The vacuousness.

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PostSubject: Re: C-RAP C-RAP - Page 5 EmptySun Nov 21, 2021 8:00 pm

When you go Greek, you ain't sittin' for a week...





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