Short Glossary Of Musical Terminology

Given the amount of music which has been published on this site of late, I thought it prudent to briefly list and explain some common muscial terms.


12″ – twelve-inch single (a type of gramophone record).

adagio – a down-tempo passage / a comparatively slow piece (60-80 bpm).

allegro – a up-tempo passage / a comparatively fast piece (120-168 bpm).

arr. (arrangement) – denotes that a track has more than one variation (ie. as of this writing, the track ‘Legerdemain’ has two variations: a piano arr. and a chamber arr.).

chamber – like a classical chamber piece (similar to an orchestral piece, but with fewer instruments).

fugue – a piece that, in its main structure, repeats a theme or themes with variation.

leitmotif – a short motif (theme).

orchestral – like a live or simulated orchestra (similar to ‘chamber’ but with more instruments).

presto – a very fast passage (168-200 bpm).

remaster[ed] – a track that has been subjected to a complete sound-quality modification.

toccata – (from toccare, “to touch”) a piece for keyboard (organ, harpsichord or piano) characterized by intricate variation, swift runs, high harmonies and speed.


All music published to the site is available for download via the Logos Patreon Music Archive.

 

 

Simple Schema For Fiction Note-Keeping

§.00 I’m very partial to note-keeping and have consequently developed a note-keeping method specifically tailored for fiction.

§.01 Consideration in my schema is first given to character(s), since once one has assembled their principal character or characters, the setting and plot can be developed more naturally. Next, principal setting(s), then theme(s) (since once one has the setting and character the theme will be able to be developed, but not before, unless one is writing story expressed primarily as a internal monologue), plot(s) (as one needs the characters, setting and theme before the plot, of necessity) and finally dialogue(s). The aforementioned entries can be ordered in the way the author finds most desirable but this was the order which works best with my own process.

§.02 Outline of written schema:

  1. CHARACTER(S)—a. character 1. b. character 2. c. character 3. d. etc…
  2. SETTING(S)—a. primary setting. b. secondary setting. c. tertiary setting…
  3. THEME(S)—a. primary theme. b. secondary theme. c. tertiary theme…
  4. PLOT(S)—a. primary plot line. b. side-plots…
  5. DIALOGUE(S)—a. narration and/or character 1: “[dialogue].” b. n/character 2: “[dialogue II].” c. n/character…

§.03 Regardless of the original manner in which the schema is created (word processor, paperback journal, etc) it is important to secure a back up (as one would with a manuscript) via cloud storage services, jump-drives and print-copies/scans.

New Mechanichism: Theorem-set 1

The first installment of a new project wherein I shall be taking excerpts from my notebooks and social media which are concurrent with the general thought trajectory of this site and create of them a patchwork of sayings, axioms and notations interspersed with images that serve to further illuminate the themes contained therein. /1/7/18/


New Mechanichism

All foundational ontologies terminate in the abyss.

Form-towards-purpose breeds purpose of form.

Time is subordinate to entropy.

Thus, kill not time, but entropy.

To wit, the fly-jar must be shattered.

From the remains, a new mechanichism.

A open system for us alone to close.

Rescind the offering.

Thereat the gate of mars.

All is war when the mind is fire.

Willful form, there shaped by iyre.

At the gate of The Sun we offer up all temptation of loss, of body and of mind.

I entreat you to join me in murdering the stars.

Ra deigns your death. Best to kill him first. Shorn of Set, he is powerless before Apophis.

A glorious new sun rises through the rarefied air, borne aloft by the force of our wills alone. A sun which will bathe the ignorant in its glorious effulgence and weld the wicked steel of the world into a grand, new machine.


General-thought-towards-action

Where a particular ideology originated in time says nothing whatsoever of it’s worth or applicability.

Quality over quantity generally produces works of integrity. Quantity over quality generally produces works of concession.

Oh, course you should attack someone because of their beliefs if their beliefs are sufficiently lacking in coherence or practicability or moral soundness or any other qualities which some body agrees upon as important. To refrain from attack in such a position is cowardice.

Half-measures are the death of purpose.

No decline is “irreversible” provided sufficient political will.


Of America

I’ve heard many explanations posited for America’s descent into madness. Chief among them, I would posit, is a total lack of conceptual clarity. This troublesome tendency for words and phrases to be allowed near-infinite malleability within everbrisker periods of time. Liminality.

A good rule for American foreign aggression: Ensure that country or non-governmental organization which we are engaging has declared war upon us or a true ally first. It really isn’t very complicated.

“Racism” “Family values” “anti-semitism” “feminism” “Americanism” All have become vagaries. Oh yes, there is the “dictionary definition” but when near to no one adheres to it, the potency of such a statement is nullified. That is to say, a untenable language game, for a game has, of necessity, rules, else it is no such thing.

The panopticon is not a system of arms but a system of minds. A prison for zombies, fashioned by ghosts.

Hard hearts are required. Color revolutions in Iran are not.

In 1955, the conservative American icon William F. Buckley wrote that the project of his paper, National Review, was to, “Stand athwart history, yelling, ‘STOP!’” We shall stand athwart history, yelling, “Catch up!”

Old-Anatomy-Drawings-Head-Dissection


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