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musical genres "Balance?

music Is there the need for balance? Why music should exist in the need for balance? Why, in addition to music, would exist in other fields need to be balanced? When our body, for example, is in balance? "Walking is a permanent or an oscillation balance between small balances and imbalances? When something is in balance, and depending on how we define balanced and, consequently, balance? How is the human body, and how are other bodies of those who say "are balanced" or are "unbalanced"? Are they symmetrical? Where else do we find symmetry? How everything? Does the physical universe? Or do we see in all this symmetry because we are symmetrical? Are we symmetrical? Does the concept of balance is a result of our concept of symmetry? What if we are not symmetrical? What would the balance? Does the balance, would it be? Is there the need to balance music?

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Aristotelian Conception Conception music linguistics

In Politics, Aristotle, to address the issue of youth education, devotes much space to explain the music as a compulsory subject in the delivery of public education. Those times of ancient Greece in its educational system had four disciplines from which the first three are the footnote clearly useful (reading and writing, gymnastics and drawing), while the fourth (music), no. Hence the need for such explanation.

On the other hand it must be remembered that the Greek thinker, and war is based on peace, the former subordinate to it, the work is based on the rest, one subordinate to it. And to get the music from their properties to generate rest and pleasure, it is also absolutely necessary in the education of a free man, who must seek more leisure than work (but only after you have worked, and the study is laborious) more peace than war.

And if, in principle, music it is necessary, but useless to discuss music, we propose, using some Aristotelian categories, then present a futile but necessary conception of music.

As is well known, the Aristotelian ontology recognizes three categories to explain the Man in the vital, vegetative life, sensitive life and intellectual life. If you understand music as a human construction made in the image and likeness of man, will it match between their characteristics and those of humans.

Thus, the vegetative life of man is represented in the music aspect rhythmic, as they are the ones that best express the issues of the body, they are closely linked to the Aristotelian concept first mentioned here.

sensitive life is matched by the melodic aspects of music, explaining that this is largely romantic idea about a melody expresses the composer's emotional life.

intellectual life is represented in music by his harmonic thinking or simultaneous sounds. The harmony was variable and is considered the most intellectual of music.

And the ring?

I can not accept unconditionally the difference between height and pitch as often exposure. I think the sound is manifested by the bell, and the height is a dimension of the ring itself. The ring is thus the great territory within which is located the district level. The height is not measured but the ring in one direction. And if possible, with timbres differentiated only by the height, form what we call melodies sound images, sequences of internal relations which originates an effect of a course, must also be possible, using the other dimension of the ring, which we call simply " Ring, which sequences provide cohesion to act with a kind of logic entirely equivalent to that logic which satisfies us The melody consists of heights. This seems like a fantasy in advance and it probably is. But I firmly believe to be performed. And I firmly believe it will contribute in an extraordinary way to increase the enjoyment sensitive, spiritual and soul that art offers. Also strongly believe that this will bring us closer to our dreams we reflect, that broaden our relationships with what today seems still, giving life to our life to what for now is dead to us just because our ties with it are minimal.

Ring bells! What finer the sense that perceives this difference, what spirits as well developed they can find pleasure in things so subtle!

And who dares to venture theories here!

A. Schoenberg, Harmony Treaty. Cap. XXII.
Madrid: Real Musical, 1979

And who here dares to say it better than the friend Arnold!

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is thought music theorist of the eighteenth and nineteenth century which introduces both a vision of music as a language, as well as professional classification equivalent to linguistic concepts. Topic , phrase are some of those terms music theory that begins to borrow from the science of language.

Music that has been built thinking of it as a language could and can now be analyzed from a linguistic perspective. Thus, varietas , contrapuntal technique of the XV and XVI, can be understood as a musical construction that resembles the writing of natural language prose, while construction and motivic phrases developed by the classicism and romanticism of eighteenth and nineteenth centuries accepted compared to writing in verse. Prose and Verse , terms of other fields of knowledge now incorporated into the theory Music.

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When music is finely tuned range

never and forever.

In this example we can see why it usually says "well-tuned third frequency is a ratio 5: 4." The fifth harmonic of C is consistent in height with the fourth harmonic of Me, and Do-My interval there will be more harmonious as this match is effective at frequencies between its components. Otherwise, if the first element matching participant has a different frequency to the frequency of the second element, the range will not be in a high harmonic, which is the traditional language, a detuning, and, in other words, a more complex intervallic relationship as if the sounds do not find a common point between their lower harmonics and audible, anyway will find higher and therefore less perceptible but matching the end. The symptom of hearing, to be no difference in the frequencies of the fifth harmonic and fourth harmonic Do Me, is a very stable sound, possessing beats (beats) in number per second so many cycles per second difference between these frequencies, being consequently a different frequency ratio to the ratio 5: 4. What we will not say is that, although there is always a point harmonicity intervallic relationship throughout, there are cases that present more evident that his point disharmonious coincidence, we suspect very few would be convinced that this relationship holds between properties intervallic harmonicity, being much more compelling the idea that in these cases we have a tune intervallic relationship.

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Talk about "Variations on Happy Birthday" and antirreceta

After publishing Variations on Happy Birthday , I had the following conversation with my student Federico Fernández:

(22:59:12) Note to Note: For a while I add other written or tomorrow
(22: 59:14) Note Against Note: http://lecturayescrituramusical.blogspot.com/
(22:59:34) Federico Fernández: eBird
(23:03:15) Federico Fernández: ta piola
(23:03:27) Note to Note: once ...
(23:03:43) Note to Note: ... "Variations on Happy Birthday
(23:03:47) Note to Note::
(23:03:50) Note to Note:"
(23:03:54) Federico Fernández: jajajaj
(23:21: 48) Note to Note: New post:
(23:21:50) Note to Note: http://lecturayescrituramusical.blogspot.com/2009/09/variaciones-sobre-el-feliz-cumpleanos.html
(23: 30:16) Federico Fernández, that is the twenty-third?
(23:30:50) Note to Note:
repetition (23:31:13) Note to Note: The twenty-third Tarata
(23:31:14) Federico Fernández:
clear ah (23:31:16) Federico Fernández, if
(23:31:42) Note against Note: I really do not know if they are 23 or 23,000
(23:32:36) Federico Fernández: mozart birthday?
(23:33:13) Note to Note: clearly, can
(23:33:28) Note to Note: it was written in 2006 for the 250
(23:34:03) Federico Fernández: ta
dense (23 : 34:45) Federico Fernández: property with Mozart?
(23:35:39) Note to Note: if everything wrong with those who mutilate
(23:35:52) Note to Note: industry, for example
(23:36:10) Note to Note: Mozart or who believe they are Mozart
(23:36:29) Federico Fernández: ah here comes the hand
(23:36:40) Federico Fernandez: I thought it was a mockery of music
(23:36:43) Note to Note: everything wrong with those who believe that no one but Mozart
existed at that time (23:36:50) Federico Fernández, and clear
(23:37:17) Note to Note: Haydn, Clemanti, the same Salieri are great musicians
(23:37:35) Note to Note: you have nothing to envy to the music of Mozart
(23:38 : 04) note against note, but the industry has built a deified image of him that became very heavy
(23:38:53) Federico Fernández: but why did that with Mozart, and not another?
(23:39:23) Note to Note:
good question (23:42:46) Federico Fernández: in music should be analyzed
(23:42:59) Federico Fernández: what are some who are otherwise in
that time (23:43:23) Federico Fernández: not deify anyone, just compare
(23:43:25) Note to Note: I do not go around
(23:43:34) Note to Note: just
(23:44:00) Note to Note: No benefits in respect of Haydn Mozart, for example
(23:44:06) Note against Note: more:
(23:44:28) Note to Note: if anyone has advantages of these two, is not exactly Mozart
(23:44:50) Federico Fernández, maybe that's why mozart is deified
(23 : 45:19) Federico Fernández: because it is less complex and open to everyone, musician or not
(23:46:00) Note to Note: I think that outweighs the fact that he died young, it makes a good story salable easily
(23:46:15) Note to Note: Haydn is not hard to hear
(23:46:47) Note to Note: if you're audited you can get trained to confuse each other
(23 : 46:55) Federico Fernández:
true (23:47:27) Federico Fernández, but Beethoven did not die young and deified the same
(23:47:52) Note to Note: because his music is very human
(23:48:07) Note against Note: yes there is a strong reason in his music
(23:48:11) Note to Note: only
(23:48:17) Federico Fernández: earthly
is (23:48:23) Federico Fernández: and Mozart's heavenly
(23:48:24) Note to Note: Schubert is nothing
(23:48:29) Note to Note: celestial
(23:48:35) Note to Note: Schubert
(23: 48:38) Note Against Note:!
(23:48:53) Note to Note: Another injustice
industry (23:49:17) Note to Note: has neither by the presence of Beethoven on the shelves of Musimundo
(23:49:36) Note to Note: and yet their music is not lower than that of Beethoven
(23:49:44) Note to Note: just different
(23:50:01) Federico Fernández: but then?
(23:51:17) Federico Fernández:
pace (23:52:18) Federico Fernández: I think the pace is key
(23:53:01) Federico Fernández, but still do not know how to express
(23:53:28) Note to Note: the rhythm, not just the pace
(23:53:36) Note to Note: all influence
(23:53:41) Federico Fernández: of course
(23:54:01) Federico Fernández: but as you said in this work, everything is perfect in parallel fifths issues
(23:54:30) Federico Fernández, and that makes all the composers of classical music we hear today
(23:54:50) Federico Fernández: all had
contrapuntal technique (23:54:55) Federico Fernández, and harmonic
(23:55: 16) Note to Note: hey, this whole discussion should be recorded in the blog
(23:55:33) Federico Fernández, and upload without problems
(23:55:35) Note to Note: I wrote and armemos the pineapple
there (23:55:40) Federico Fernández: jajajaja
(23:55:44) Federico Fernandez: I do not fight
qiuero (23:55:53) Note to Note: but I wrote
(23:56:01 ) Note Against Note: I do not
(23:56:10) Note to Note: what we are doing is not fighting
(23:56:24) Note to Note: talking and thinking about a topic
(23:56 : 30) note against note: that's what the blog
(23:56:35) Federico Fernández: clear
(23:56:49) Note to Note: The difference is that if we do there
(23:57: 00) Note to Note: it is for everyone who comes to see
(23:57:07) Federico Fernández: clear
(23:57:16) Federico Fernández: does not copy and paste the
msn conversation (23:57:27) Note to Note: I do not think
(23:57:43) Note to Note: I wrote all over you like and answer
(23:57:49) Note to Note: All along I want
(23:57:55) Federico Fernández: hahaha good
(23:58:21) Note to Note : invite the teacher to participate
Oscar (23:58:30) Note to Note: and of course other people
(23:58:34) Federico Fernández: a
(23:58:51) Note to Note: another short post:
(23:59:11) Note to Note: Recipe and recommended antirreceta to understand the processes of reading and writing musical
(23:59:35) Federico Fernandez: I must confess that although give me grace that poem I wrote the teacher and well armed, I felt a bit of contempt at the question rhythmic
(00:00:00) Federico Fernandez: I do not think that is neither more nor less important than what the contrapuntal and harmonic
(00:00:13) Federico Fernández: in music we studied, obviously
(00:00: 31) Note to Note: all music
(00:00:55) Note to Note: The master also underestimates the dynamic effects
(00:01:14) Note to Note: because he thinks music is music as
heights (00:01:26) Note to Note: a little restricted for my taste
(00:01:51) Federico Fernández, but also his own idol bruckner
play with those things (00:01: 59) Federico Fernandez, and his music is flawless
(00:02:20) Note to Note: As a friend and we want it teaches a lot of other things
(00:02:27) Federico Fernández: no doubt
( 00:02:38) Federico Fernández: there is nothing offensive against the teacher
(00:02:46) Federico Fernández, is a total master
(00:02:47) Note to Note: exact
(00:03: 23) Federico Fernández, but should be rhythmic speech exercises, how to make strong songs
(00:03:35) Federico Fernández, as did 'the boys before'
(00:04:05) Note to Note: No doubt
(00:04:27 ) Note Against Note: I do not think out of the same type of intellectual speculation
(00:04:35) Note to Note: but from other experiences
(00:04:47) Note to Note: involving more strongly
body (00:04:58) Note to Note rhythm playing!
(00:05:16) Note to Note:
think them well (00:05:26) Note to Note:
but after experiencing them (00:06:39) Federico Fernández, of course, and the music is not just thinking and doing work on the mind. Nor is just moving and working your body
(00:07:09) Note to Note: Above and missing the third leg of the table:
(00:07:14) Note to Note:
spirit (00: 7:49) Federico Fernández, these two factors will end up being handled by the latter?
(00:09:36) Note to Note: Well, if you think well, clearly you're prioritizing the latter over those
(00:09:44) Federico Fernández: true
(00:09:46) Note against Note: it is valid
(00:09:50) Federico Fernández, but
(00:10:07) Federico Fernandez, the other may be exercised
(00:10:15) Federico Fernández, and spirit exercise?
(00:10:26) Note to Note: If
(00:10:40) Note to Note: this is it, I think, life
(00:10:47) Note to Note: to exercise
spirit (00:11:32) Note to Note: and perceive and express more and better if more "muscular" is your spirit, but ...
(00:11:50) Note to Note: orange fanta
(00:12:33) Federico Fernández: fucking thing that
(00:12:54) Federico Fernández: how it is taught to exercise the spirit?
(00:13:14) Federico Fernández: is not that what it says talent?
(00:13:33) Federico Fernández, the spirit associated muscles?
(00:14:05) Note to Note: this is not learned in any university, that's for sure
(00:14:25) Note to Note: che, my eye starts to bother
(00:14:31) Note against Note: throw in the towel
(00:14:35) Note to Note: pit to sleep
(00:14:41) Federico Fernandez: I also
(00:14:48) Note to Note: tomorrow we the
19.30 (00:15:07) Federico Fernandez: Well, if I'm fucked with the orchestral parts may miss class
(00:15:22) Note to Note: notice if you do not come
(00:15:27) Federico Fernández:
insurance (00:15:30) Federico Fernandez: teacher we
(00:15:35) Note to Note: meta, chau

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Recipe advised to understand the processes of musical literacy

"Do not give advice if you ask for them ... " Juan Manuel Fangio advised. Quickly following his example, say I do not recommend follow those treaties to which, as a recipe, lists procedures to reach a supposedly artistic result. I list below some procedures to go from writing how and why they operate the various rankings of the notes of a melody tone:

Recipe: how to compose a melody in five steps
INGREDIENTS: Arpeggios

• step
Notes
• Embroidery

PROCEDURE:

1. Define harmonic thinking rule the melody. For example, T - D - T.
2. Develop only harmonic arpeggios that thought in the realm of melodic. For example:

3. Apply only to passing notes written in the arpeggios and above.

4. Taking again the year with arpeggios, apply only embroideries.

5. Taking again the year with arpeggios, passing tones apply both as embroideries.

Although almost no one up exactly like that, get to the last track in five steps, "this practice, perhaps concocted by Adolf Hitler or Dona Petrona, lets think about some features that are inherent to any tonal melody, and it also allows us to reflect on the process of writing music.

already left behind, hibernating until another historic moment in which revalue these ways, you times that by from the combination of simultaneous melodies are coming to a harmonious result, now, in times of tonal music, it is estimated in the first instance and in the abstract, the passage that will govern the harmonious melodies or musical composition, and these are in largely the result of that thought agreed or pre-arranged, which is now clearly defined sound settings constructed by overlapping third, triads, tetrads, etc..

As the sounds of the chords of "rulers", the others are "governed"

Antirreceta: how to break a melody in a step

INGREDIENTS: Concept

arpeggio
• passing note Concept Concept embroidery

PROCEDURE:

1.Reduce melody rhythmically its entirety more hierarchical.

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Variations on Happy Birthday

Topic

Variation I

For many centuries the compositional technique in music you could craft the qualifier, but in the last hundred years has been almost completely abandoned that way, replacing it with other industrial type . Thus, soggetto a permanent movement, whose organization was based on the constant rhythmic and melodic diversity, there is now a balance of the subject based on motivic construction, ie a small musical idea replicated in its various possibilities. By analogy, we compare the process of motivic construction in music the industrial production process, in which, from a parent (reason) you get a series of products (replications of the reason) and, consequently, an industry (a piece or set of them. - What were prolific boys before!).

What could we expect from the world of industry, but a giant "tribute" of packaged and mutilated fragments of music, more cartoons in figure series one of the world anticipating a coming that a while ago we arrived? How not to praise one of the characters in the story, and his music, through word-that contributed most a hacer creer que la armonía, la paz y el orden son posibles? Y un mundo no sólo posible, sino, además, perfecto. ¿Cómo no esperar que a los cuatro vientos griten “¡Happy birthday!” si hay aún tanta gente dispuesta a creer en tal perfecto mundo (y a comprar muñequitos y música mutilada y empaquetada) aunque éste se esté cayendo a pedazos frente a sus industriales narices y taponados oídos?

Variación II

¿Qué significa la música? ¿Qué quiere decir el acorde de Do mayor? ¿Alegría (y el de Do menor  tristeza, y el de Do sostenido mayor excitación)? ¿Qué quiere that the first-Tarata-taratantan Tarata not know what symphony and why the twenty-third? In itself, nothing!, Especially the twenty-third, for the formation of an unlikely meaning play against the twenty previous replications. Or perhaps no more "meaning" a dish that an industrial scale? The repetition kills any possible industrial semantic load.

Everything in its place, where everything is hopelessly in their place, including the unexpected. It is unexpected that the unexpected is in another place due, the expected rise inevitably. Wanting to believe in a perfect world may require a perfect music. The error here is prohibited (the parallel fifths are forbidden here!), And so what tranquility, helps you think, spread peace, what beautiful music, how perfect: repeats to be recognized (is like what one is capable to recognize), and is always well groomed and with a productive white smile. Coda

The costume of the gesture against the weight of events. Our feminized society is accustomed to love and flirt with Che Guevara to thereupon asked to shave and wear a tie. How nice that guy who walks by revolutions ... away. Maybe a bad Guevara example, because, apparently, he made gestures and have full correspondence. So they are required to shave, otherwise only the festejaría.

Happy birthday, dear child! Lets celebrate their revolutionary gestures and made functional, allowing us to flirt with him and sleep peacefully.

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Cortázar, Escher, Bach

may make a direct comparison between the short story "Continuity of Parks" by Julio Cortazar, Print Gallery of MC Escher and the "Canon-tone" of the Musical Offering of JS Bach.

In this episode of the Bach composition found the real issue one of the many versions designed for German composer from the original proposed by King Frederick II of Prussia.

"real issue" of Frederick II of Prussia

This version is both rhythmic variations such as melodic and harmonic. The latter are characterized by their modulatory, ie the subject started in C minor, does not end in the original key but in this case makes it a higher pitch, that is in D minor.

"Royal Theme" modulating (from C minor to D minor)

This small piece

has two voices: the most serious draw a counter melody that has a rhythmic dynamism contrasts with the real issue, a middle voice appears on the second bar imitating counterpoint distance of 5 th upward. These two voices play a role in the modulatory process to D minor, because without the intervention of such a process would hear them as forced. Now, what was the intention of Bach by presenting a work consciously tonal instability causing the listener? As far the Musical Offering was "offering" the king in the form of puzzles to solve (ricercare, re-search), it is not difficult or unreasonable to say that this was one of them. The solution to this problem is not complicated: as the human ear perceives the range of 8 th as a cycle, and have it six steps of tones, what to do to be tonally "misplaced" is run six times in a row the canon, each one higher pitch than before, and so the latter would reach the initial key. However, "especially if we consider that this page was not written music for any instrument in particular, is also possible to read the message in this romp Bach: the Canon-tone" can rise infinitely ...

In Print Gallery found in an art gallery two people. One notes one of the prints on display. It consists of a boat in the water, behind houses, buildings that extend to the right, a young man on a roof seems to rest, below, leaning on a window, a woman seems to see, then down the window there is a roof covering an art gallery where two men appreciating recorded. One of them is one that is on a boat in the water, behind houses, buildings that extend to the right ...

In "Continuity of Parks", the park, is not the city of Escher? , The man who reads literature, is not the man who sees the engraving? , Did not finish both engaging to the point that end being part of the novel and recorded respectively? , The two points that are in the final paragraph of the story, is not equivalent to the signing of Dutch engraver, printed in the center of the spiral that goes with the job?

look a little more the canon of Bach. We said that the deepening of the voice makes a counterpoint, which in turn is imitated by the middle voice while the upper voice sings the real issue. Every voice seems to have its distinct role. Spinning finest But if we start to give us with some surprises:

JS Bach, Canon 5 in the "Ca ne p or tones." Imitation imitated.

With blue arrows mark the actual imitation, in red circles, the others! Is it possible? The voice is imitated imitating? Who imitates whom? ... The real issue, we said, is presented by the upper voice:

The real issue completed and anticipated

Is supplied only by the upper voice? The cunning silence introduced in the seventh bar silences the voice to be heard in charge of the real issue at that time giving the task to the middle voice, which completes the melody with a rhythm that is close to the original, Federico II. However, shortly thereafter, the upper voice as well complete the song. So what does the second voice can be understood as an anticipation, that, do not forget, was simultaneously announced by the third voice behind a bar (panting dialogue raced down the pages like a rivulet of snakes, and felt that everything was decided from the beginning. [...] The dogs were not barking, and did not bark. The steward would not be at that hour, and was not. ").

This ambiguity in the boundaries, is not the same city or park escheriana Cortazarian? We

here, by way of curiosity, do mention the fact that you can run "infinitely" the tone of Bach canon. Robert Shepard, a psychologist, devised an artifice by which manages to give the illusion that it ascends without actually doing it. The method is given an ascending scale, run with decreasing intensity and, simultaneously, to hear the same scale an octave lower, but with rising intensity. The result, as we said, is that seems to rise, but does not rise, giving the possibility of repeating the process ad infinitum.

Shepard tones

Escher speaks of the arts with the visual arts; Cortazar speaks of literature with the literature speaks of "Bach music with the music?

may make a direct comparison between the short story "Continuity of Parks" by Julio Cortazar, Print Gallery of MC Escher and the "Canon-tone" of the Musical Offering of JS Bach.

JS Bach, "Canon-tone" of The Musical Offering, 1747

MC Escher, Print Gallery, 1956

CONTINUITY OF PARKS

Julio Cortázar

had begun reading the novel a few days. The urgent business left, opened it again when returning by train to the farm, is slowly leaving interest in the plot, by drawing the characters. That evening, after writing a letter to his attorney and discuss with the butler a matter of sharecropping, returned to the book in the quiet of his study which looked into the park of oak trees. Sprawled in his favorite chair, his back to the door that had bothered him as an irritating intrusion possibility, let his left hand again and again caress the velvet green and began to read the last chapters. His memory retained without effort the names and pictures of the characters, the fictional illusion him almost immediately. Enjoyed the almost perverse pleasure of going line by line ripping his surroundings, and feel that while his head rested comfortably in the high-backed velvet, that cigarettes were at hand, that beyond the windows danced the evening air under the oaks. Word by word, absorbed by the sordid dilemma of the hero, letting go the images were arranged and took on color and movement, witnessed the last meeting in the mountain cabin. The woman arrived first, apprehensive; now the lover came, his face cut by the backlash of a branch. Admirably licked her blood with her kisses, but he rebuffed her caresses, he had not come to repeat the ceremonies of a secret passion, protected by a world of dry leaves and furtive paths. The dagger warmed to his chest, and underneath liberty pounded squat. Panting dialogue raced down the pages like a rivulet of snakes, and felt that everything was decided from eternity. Until such caress lover's body tangled as if to keep him and dissuade him, sketched abominably the figure of another body that was necessary destroy. Nothing had been forgotten: alibis, unforeseen hazards, possible mistakes. Since that time each instant had its use carefully allocated. Merciless review twice interrupted only for a hand caressing his cheek. Began to get dark.

But look now, rigidly fixed to the task which awaited them, they separated at the cabin door. She was to follow the path that led north. From the opposite way he became a moment to watch her run with her hair down. He ran in turn, crouching in the trees and hedges, to distinguish in the fog of dusk the mall leading to the house. Dogs should not bark and no bark. The butler would not be at that hour, and was not. He went up the three porch steps and entered. From the blood in his ears galloping came the woman's words, first a blue room, then a gallery, a carpeted stairway. At the top, two doors. No one in the first room, no one in the second. The door of the room, and then the sword in hand, the light from the windows, the high back of a green velvet chair, the man's head on the couch reading a novel.

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The metaphor of breathing and the duty to live

minimally

Having observed both phenomena natural as well as many cultural phenomena, at least so far, none of them escapes the possibility of comparing or equating the breathing cycle, or rather the act of breathing: inhale and exhale, loading and unloading consequent energy, cyclical and occasional variations that make breathing a phenomenon of infinite possibilities.

music on the one hand understood as a cultural phenomenon and the other as a metaphor of a living body does not escape either to the possibility of being matched to the respiratory process. Thus, a musical piece, a musical body, lives, grows and develops and oxidized and dies according to their musical breaths.

The first musical body's respiratory process called Prelude I of The Well-Tempered Clavier by JS Bach I is a normal breathing, quiet, and exemplified on the movement of energy loading and unloading around the breathing process occurs . The harmonies of the first two bars are filled with energizing oxygen the lungs of the Prelude, and the third time and are they full of energy. Poison the body stay there music, so it is necessary to address an energy release process, which occurs until the end of the fourth beat. And if we need to say violent (every need is violence, says Aristotle in his Metaphysics). And if that exhalation musical (harmonic motion from the dominant to the tonic) was necessary, "inhalation was it not equally necessary for the life of the intro? All this reflection on the violent breathing Bach music reminiscent Navigation Log Leopoldo Marechal, in particular the passage in which the Argentine poet asserts that life is not a right but a duty. Bach Prelude do not choose to live, grow, develop, rust, die, should. And the first breath tells a lot about the present and future health of one of the most famous German composer's musical children, how difficult musical son is to say that this is an asthmatic. Nor is a top athlete XXI century, or maybe yes, but not in competition but in contemplative mood, calm, quiet violently (or necessarily alone).

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Modern

All modern life will be devastating to the individual. Individuals from other times, Pa'lante father or, like me, unhappy that the slightest provocation they fall or get lost.

Past lives have taught me that there is nothing extraordinary in that life is an absolute full of cycles in it. The incarnation is an act of every day: just think of another place, another time, another body, have already had an astral experience. Low and useless, yes, but astral to the core.
modern
This devastates me.

This life that has made the most contrast blatant and radical pleasure. For example
in the midst of chaos is when it is worth meditating or listening to slow music and harmonic
-guitarrazos I love waking up with quirky or with free jazz and hard to find
-a kiss on the forehead or the softest of caresses right on the cusp of the loving can be a sensual experience
-fed the winger which functions can go far by the whole band took off rivals and controlling the ball, but the goal will be memorable only if pumped the ball gently to the departure of goalkeeper

modern life In my mind the dramatic appearance to the point of raising the level of ecstasy to the discrete individuality, that sweet spot of thought alone, silence abstractor (ah, blessed words that do not exist and yet demand their right to have from time to time.)

modern in my life care about names, categories, descriptions.

enough to admit when I miss the madness, that creative state that is independent of the justifications, as a legitimate means of expression. Read

children.

Lately my best talks I have them with my daughter, they say, still does not speak well.

Shit, why do I understand him to perfection?

Their games are delicious, when transformed into nuts their colors and eats imaginary or invented words like cisocé , kamipopia or kala to name objects to perfection even knowing their names, or those times when mountain climbing, or upholstered flies sky high and prolonged abound between the bed and the ceiling.



This modern life imposed rules and gives terrible trials who do not stick to it, I know. And I hate

.

This life with its emphasis on healing based on moving away pain without wanting to deepen their meaning in what it symbolizes, as the body communicates so wise and millennia.

This brutal life with their weights in finance, politics, religion, culture of countries (perhaps always the same fateful global country), which impose lifestyles eventually unsatisfactory.

This life with that disturbing power of teaching around live everything except this, why is likely to occur then the desire, consumption, egocentricity, fear.

This life, fallible and absurd. Modern

any other era.

(a complaint over the matter, as always with us, those against)

And I came here to talk about something else, shit.

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a poem written 4 years ago: revisited, rewritten, reprinted, rewritten, resigned: reinserted: re:

QUAI D'ANJOU

curious that the scene (no, almost:
two young unevenly)
had a disquieting aura. JULY
CORTÁZAR

- - -
And what to do with the street clear.
All this order and ellipsis, one following another
another
and others that are imaginary
like cracking open
time to take refuge in anything. Palomas
hidden in the gaps of the buildings that go unnoticed

without camouflage.
even a good photographer it would take. I

Before the Quai d'Bourbon
and no wind blowing, but you

blonde women were the clouds, then spent a dove

and I think that a sparrow in front of my face

their faces
our .

Ah, Chapultepec wind
I
you clear the sky and the street.
would have to decide to find a dove shoot.

- - -
I I look,
what I can look into the sun. I watch the clouds

or more precisely:
the space once occupied
but go blind, I prefer looking down

without reaching the ground. Volume

then Paseo de los Andes
y en Monte Nevado ese incienso inservible,
en Cerro Agreste el agua,
Campos Celestes un edificio a medio hacer,
por Noche Pletórica caminando.

Mirar y caminar
son los infinitivos más.
[finitos
finos e) infinitos
-ínfinos-

Luego de mirar me viene el recuerdo
o el registro,
antes es caminar.
Recuerdo la imagen antes que su verdadero cuerpo,
había girado como una veleta de cobre
y los ojos, los ojos estaban ahí.

- - -
Era delicada y linda, como la noche,
salía humo de sus negros ojos,
yo la perdí por verla tanto,
al igual que sucede with nights.

only watch and wait,
something has to happen after watching both.

I'm just as is anyone,
as the night when it is daytime,
and no clouds.

I'm just like a photograph when nobody sees.
as a dove is a cloud that is suspended.
(nostalgia of what was obtained

although it obtained what it was not)

- - -
The night slips
me and I think it might have
other ways not to tell anything.

Why do not the dove comes and hides in the cloud?
Why not come and cover this evening sun? Why women
black-eyed blonde tacit meeting?

not just a poem with a question or questions
what you've read.