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Thread: music, communication, and the socion

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    Default music, communication, and the socion

    deleted, because I like the discussion below better
    Last edited by Nexus; 05-14-2010 at 02:00 AM.

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    I like the power guitar chords in songs, like fefe dobson's 'don't let it go to your head.' And yeah I think that's a prime example of Se, a very obvious example. And I love it to death so yeah.

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    flowing sound texture; use of nature-imitating sounds; avoidance of fast rhythm; preference for swift melodic resolution and clearly minor or clearly major chords
    That all sounds quite boring. Clearly minor/major chords are corny as heck.
    "Language is the Rubicon that divides man from beast."

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    i'll tear down the sky Mattie's Avatar
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    Yeah, I don't think you can really put IEs to types of music. You would have to wonder how popular music is popular, because it can only be so many qualities, but at the same time, appeals to a large majority of people. I don't think this is type related at all, musical preference is the cause

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    Not sure if this goes along with anything here, but I thought posting it would bring back some memories of it, possibly sparking something new, from here Music - Wikisocion.

    beautiful melodies and harmonies without many embellishments; slow broken chords;

    dramatic embellishments; high, wailing sounds; manipulating sound quality to create a wrenching effect; dramatic melodies that are largely independent of chord structure; imitation of sounds (of human voice, laughter, animals, etc.) using instruments;

    high focus on patterns of notes and structure of melody, harmony, and tonal progressions; meaningful repetition

    well-articulated, strong, unchanging rhythm; melody highly dependent on chord changes; preference for fairly fast tempo (e.g. a fast walk); strongly defined sections

    flowing sound texture; use of nature-imitating sounds; avoidance of fast rhythm; preference for swift melodic resolution and clearly minor or clearly major chords

    heavy, percussive beat; strong "power chords" (in rock music); extensive use in classical music of brass, timpani, other percussion to convey a sense of bigness (not necessarily loud)

    use of echoes and reverberation; gradual emergence of chords; lack of emphasis on percussion

    use of eclectic, "random" melodic structures, styles, and concepts within the same composition; continuous melodic embellishment; introducing new melodies, textures, and variations through the course of a piece

    I just remembered this article. I relate mostly to the Fi and Ne associations, especially when composing my own music. I tend to get a kick out of some parts of Se and Fe though, and definitely get a kick out of the Fi one in other music. Not sure if these are legit, but they seem like fun.

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    Quote Originally Posted by Huitzilopochtli View Post
    here is a piece I wrote almost 2 years ago: http://api.ning.com/files/OoN9q1jyhU...gicReverie.mid
    I like it actually...very quirky. I don't really get much sense of form or it going anywhere, but I really like the material. The sudden tempo changes and other things that just sort of happen one time without any apparent context give it that nice quirky quality. It would be interesting if you used that Midi file to drive virtual instruments instead of just using general midi, although maybe the midi sound helps gives it that campy/electronic sound.

    Quote Originally Posted by polikujm View Post
    Not sure if this goes along with anything here, but I thought posting it would bring back some memories of it, possibly sparking something new, from here Music - Wikisocion.
    I think that article is a nice start, although there are some problems.

    "Fi beautiful melodies and harmonies without many embellishments; slow broken chords;" I think that gives a good idea of what some Fi music may sound like, although I think some crea-Fe may also sound like this. Probably the intent here was that if you're playing some slow melody and purposely avoiding too much embellishment, it's to create this sense of some sort of emotional depth.

    "Fe dramatic embellishments; high, wailing sounds; manipulating sound quality to create a wrenching effect; dramatic melodies that are largely independent of chord structure; imitation of sounds (of human voice, laughter, animals, etc.) using instruments;" My initial reaction is that this overemphasizes the high-intensity side of Fe (probably from seeing "wailing sounds"). While Ej temperament is more intense as a rule, I think everyone has both intense and quieter moments, even if one is using largely Fe.

    "Ti high focus on patterns of notes and structure of melody, harmony, and tonal progressions; meaningful repetition" Sounds good to me, although meaningful repetition could be Fi depending on whether it's an "ethical" or "logical" form of "meaningful."

    "Te well-articulated, strong, unchanging rhythm; melody highly dependent on chord changes; preference for fairly fast tempo (e.g. a fast walk); strongly defined sections " Not bad...I like the "strongly defined sections" part. It's probably right that Te dominated music is more often at a faster tempo, but as I stated with Fe, Te-dominated composers probably also wrote slow music but are still using the same basic functions as when they write fast music.

    "Si flowing sound texture; use of nature-imitating sounds; avoidance of fast rhythm; preference for swift melodic resolution and clearly minor or clearly major chords " I'm not really sure here. I think Si-dominated music gets into the sound a lot...I'm not sure if it has to be nature-imitating, slow, or triadic.

    "Se heavy, percussive beat; strong "power chords" (in rock music); extensive use in classical music of brass, timpani, other percussion to convey a sense of bigness (not necessarily loud) " I like that it says "not necessarily loud," acknowledging that there is some variability. But overall it's suggesting that it is big, heavy, and loud, but "not necessarily." To me Se music tends to suggest actions...It makes me think of things happening or stuff going on around me as if I'm where the action is. So in that sense it doesn't necessarily have anything to do with being heavy or strong at all.

    "Ni use of echoes and reverberation; gradual emergence of chords; lack of emphasis on percussion " This and other things on the site kind of stereotype Ni music as new age or "space music." To me, that's a genre that doesn't necessarily have anything to do with Ni. In classical music, at least, I think Ni might be expressed by creating imaginary spaces that focus on such concepts as anticipation, long-term significance, foreshadowing, implication of the fundamentals of a narrative storyline, etc. I think sometimes long pedal points as in Mahler (think the last movement of Mahler 2) may help connote Ni, but Ni-dominated music probably uses percussion as much as any other music, and the echoes/reverb thing is definitely more of a genre issue than a type issue.

    "Ne use of eclectic, "random" melodic structures, styles, and concepts within the same composition; continuous melodic embellishment; introducing new melodies, textures, and variations through the course of a piece" That's about right, I think. Only comment would be that in within older, more conservative styles, Ne would tend to be expressed more as "continuous melodic embellishment," whereas in later musical styles it's expressed more in the other ways mentioned. For example, I tend to see Mozart's music as Ne-oriented because of it's melodic fluency and brilliance. Back in those days, it was actually considered eclectic, but it doesn't seem so us. Since I see Mozart as IEE, the Te and Fi values keep it orderly.

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