liste des déclencheurs musicaux (under construction) avec des annotations

Fragment of Chopin Score Manuscript, photograph by A/Z available with other photographs and drawings at Fine Art America;  

A/Z Montage/Digital Blackboard with Joseph Beuys' Plight (original picture taken at the Pompidou), James Lee Byars (in spirit), Viola Michel, Lilith & Anselm Kiefer (Liliths Töchter, 1998).

"Suprematist compositions of elements and feeling of metallic rustling with strongly dynamic tendency. Tone of a pale metallic copper scale." 

Kazimir Malevich (image from The World as Objectlessness, Hatje Cantz 2014); 

Manfred Meditation (composition by Nietzsched, abhorred by von Bülow; Tena Marique Duo/Youtube); 

Anton Webern's Fünf Lieder Op 4; 

Pina Napolitano/ Schoenberg's Fünf Klavierstücke Op 23 ("Sehr rasch"); 

Pina Napolitano/ Schoenberg's Fünf Klavierstücke Op 23 ("Waltzer"); 

Glenn Gould/ Alban Berg's Piano Sonata; 

Glenn Gould/ Anton Webern's Variations Op 27; 

T. W. Adorno's Studies for String Quartet; 

Quartet Lîla/ Olivier Messiaen's Fouillis d'arcs-en-ciel; 

Henri Pousseur's Jeu de Miroirs de Votre Faust; 

Andaloro/ Ligeti's Arc-en-ciel; 

Glenn Gloud/ Scriabin's Deux Morceaux Op 57; 

Hans-Joaquim Köellreutter's Musica 1941 (Beatriz Román interpretation, Instituto Piano Brasileiro/Youtube); 

Cláudio Santoro: 12 prelúdios (1957-58/Youtube) [video not available anymore at Youtube]; 

Lassus's Prophetiae Sibyllarum (Youtube); 

Toshi Ichiyanagi's In Memory of John Cage (1992, Youtube); 

Milda Vitartaite plays Mario Davidovsky Synchronisms N 6 (for piano and electronic sound, Youtube);

Pleif Mapa III (by A/Z) [they arbitrarily deleted this video from Youtube, but you can still watch it here in Vimeo: https://vimeo.com/304374596] (for my videos, see here); 

Pleif Mapa I (by A/Z) [I took this video out of Youtube, because I wanted to change it];

"Sounds are just vibrations, isn't that true? 

Part of a vast range of vibrations including radio waves, light, cosmic rays, isn't that true?

Why didn't I mention that before?

Doesn't that stir the imagination?

Shall we praise God from Whom all blessings flow? 

Is a sound a blessing?

I repeat, is a sound a blessing?

I repeat, would you like to hear Quantitäten by Bo Nilsson whether it's performed for the first time or not?"

John Cage (Composition as a Process)

"Years ago I asked myself

'Why do I write music?'

An Indian musician told me

traditional answer in India was

'To sober the mind and thus make

it susceptible to divine influences.'"

"A cough or a baby crying will not

ruin a good piece of modern music."

John Cage (45' for a Speaker)

"... le son est vécu comme ce qui nous relie au monde extérieur et au monde intérieur, nous révélant souvent l'intérieur des objets, des récipients opaques — parmi lesquels le corps humain, pour le médicin formé à l'auscultation. Il y aurait alors un besoin idéologique de ne pas diviser — de garder intouché, à travers la préservation d'un mot unique, ce mythe du son comme une sorte de jardin d'Éden de la sensation ou comme un lieu de passage, un lien entre toutes les dimensions."

Michel Chion (Le Son)

"Why is this so necessary that sounds should be just sounds? There are many ways of saying why. One is this: In order that each sound may become the Buddha. If that is too Oriental an expression, take the Christian Gnostic statement: 'Split the stick and there is Jesus.'"

John Cage (History of Experimental Music in the United States)

"The most amazing noise I ever found was produced by means of a coil of wire attached to the pickup arm of a phonograph and then amplified. It was shocking, really shocking, and thunderous. Half intellectually and half sentimentally, when the war came a-long, I decided to use only quiet sounds."

John Cage (Lecture on Nothing)

"... se réjouir sans cesse à la pensée des prochaines vacances où l'âme pourra s'attabler, nourrir ses nerfs affamés et emplir de sève fraîche ses vaisseaux défaillants... Sur la voie d'en bas soumise à la gravitation terrestre résident les problèmes de l'équilibre statique... rester debout envers et contre toutes les occasions de tomber. Aux voies d'en haut conduit l'aspiration à s'affranchir des liens terrestres pour atteindre, par delà la nage et le vol, à l'essor libre, à la libre mobilité."

Paul Klee (traduction par Pierre-Henri Gonthier)

"Une page symphonique de Vinteuil, connue déjà au piano et qu'on entendait à l'orchestre, comme un rayon de jour d'été que le prisme de la fenêtre décompose avant son entrée dans une salle à manger obscure, dévoilait comme un trésor insoupçonné et multicolore toutes les pierreries des Mille et Une Nuits."

Marcel Proust (le narrateur, La Prisonnière)

"Culte de la sensation multipliée et s'exprimant par la musique. En référer à Liszt."

Baudelaire (Mon coeur mis à nu)

"R. Wagner a fait quelque chose de semblable en musique. Son célèbre leitmotiv tend également à caractériser le héros, non pas seulement au moyen d'accessoires de théâtre, de fards ou d'effets de lumière, mais par un certain motif précis, c'est-à-dire par un procédé purement musical... Les musiciens les plus modernes, comme Debussy, reproduisent des impressions spirituelles qu'ils empruntent souvent à la nature et transforment en images spirituelles sous une forme purement musicale."

"La musique de Schönberg nous introduit à un Royaume où les émotions musicales  ne sont pas acoustiques mais purement spirituelles. Ici commence 'la musique de l'avenir'"  [plus loin: "La musique russe (Mussorgsky) a exercé une  grande influence sur Debussy. Il n'y a donc rien de surprenant  à ce qu'il ait une certaine parenté avec les jeunes  compositeurs russes, en particulier avec Scriabine"].

"Depuis  des siècles, et à quelques exceptions et déviations près, la musique est l'art qui utilise ses moyens, non pour représenter les phénomènes de la nature, mais pour exprimer la vie spirituelle de l'artiste et créer une vie propre des sons musicaux. Un artiste qui ne voit pas, pour lui-même, un but dans l'imitation, même artistique, des phénomènes naturels et qui est créateur, et veut et doit exprimer son monde intérieur, voit avec envie avec quel naturel et quelle facilité ces buts sont atteints dans l'art le plus immatériel à l'heure actuelle: la musique. Il est compréhensible qu'il se tourne vers elle et cherche à trouver dans son art les mêmes moyens. De là découle la recherche actuelle de la peinture dans le domaine du rythme, des mathématiques  et des constructions abstraites, la valeur que l'on accorde maintenant à la répétition du ton coloré, la manière dont la peiture est mise en mouvement, etc."

Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)

"The five great elements of sentient beings and nonsentient beings [earth, water, fire, wind and space] are endowed with the powers of producing vibrations and sounds, for no sounds are independent of the five great elements; these are the original substance, and the sounds or vibrations are their functions."

Kukai (The Meanings of Sounds, Words, and Reality/Yoshito Hakeda's translation)

"... a mouvement from that which the everyday self understands to be the ground of the Being of beings to the invisible basho grounding that basho vis-à-vis being."

Yasuo Yuasa

"... the sound that issues from the striking of emptiness is an endless and wondrous voice that resounds before and after the fall of the hammer."

Dogen (translation by Norman Waddell and Masao Abe)

"Havia até corredores que avaliavam a carreira de um animal pelo ruído das patas quando corriam, conforme amiudavam ou não, produzindo um rumor contínuo... Assim, muitas vezes deitado a um lado da cancha com o ouvido encostado no chão, havia quem apreciasse, principalmente em tiro curto, se aquele ruído era sustentado uniforme de a saída até a chegada, ou se o animal mermava ou aumentava a carreira."

Luis Araújo Filho (LAF)

"Los había venido oyendo,  espaciados, pensando que eran redobles de tambor, pero ahora estaba seguro que eran explosivos..."

Mario Vargas Llosa (La guerra del fin del mundo)

"Si la musique agit sur les serpents ce n'est pas par les notions spirituelles qu'elle leur apporte, mais parce que les serpents sont longs, qu'ils s'enroulent longuement sur la terre, que leur corps touche à la terre par sa presque totalité; et les vibrations musicales qui se communiquent à la terre l'atteignent comme un massage très subtil et très long..."

A. Artaud (En finir avec les chefs-d'oeuvre)

"... et j'eus l'impression d'avoir devant moi et de contempler l'agitation de fourmis planétaires au compas d'une musique céleste."
A. Artaud (Le rite des rois de l'Atlantide)

"Il faut que les bruits deviennent musique."

Robert Bresson

"Le mourant quittait la chair par l'audition..."

Julia Kristeva, Le vieil homme et les loups
"Mon père mort me fait entendre la musique."
Pierre Klossowski

"... mas no final, não importa se é mausoléu de prata, ouro, bronze ou mármore, ou sé é cova pública, como Wolfgang Amadeus Mozart... num saco, dentro dum bueiro. E o que ele tem? Um legado... dois séculos e meio de riqueza cósmica... Já do proprietário dos iates..." 

Júpiter Maçã, A Odisséia

"Vos viste alguna vez el cuerpo irradiador de sonidos? ... decime, infeliz, si vivís en una casa tantos años como los que fuiste a la escuela e al liceo, y sentís, como acá, chirriar de puertas, ruido de cadenas, maldiciones, gritos, y nunca viste ni minga, qué pensás?"

Mauricio Rosencof

"... des Tristan. Dies Werkist durchaus das non plus ultra Wagner's... Ich nehme es als Glück ersten Rangs, zur rechten Zeit gelebt und gerade unter Deutschen gelebt zu haben, um reif für dies Werk zu sein: so weit geht bei mir die Neugierde des Psychologen. Die Welt ist arm für Den, der niemals krank genug für diese 'Wollust der Hölle' gewesen ist."

Nietzsche

"... o físico dinamarquês Niels Bhor introduziu a noção da complementaridade, ou seja, duas descrições complementares da mesma Realidade. Essa noção de complementaridade tornou-se parte essencial da maneira pela qual cientistas e artistas pensam hoje acerca da natureza. Niels Bohr, condecorado em reconhecimento pelas suas grandes contribuições à ciência e à vida cultural dinamarquesa, escolheu, para seu escudo de armas, a inscrição 'Contraria sunt complementa'... Desse modo, a obra musical, assim como toda a obra-de-arte, deveria ser considerada como manifestação do mundo simbólico de um mito. Porque, como este, não é subjetiva, nem objetiva, mas sim, onijetiva. Manifestar-se misticamente significa revelar, simbolizar o real e o irreal, o dito e o não-dito, som e silêncio. É tornar audível o que a alma sentee vive. É afirmação e depoimento. É negação e afirmação, aceitação e recusa. Eu diria: o mito, neste sentido deve ser considerado a obra-de- arte mais perfeita, mais íntegra e mais completa que o homem jamais criou. Porque transcende o dualismo e integra os opostos em um todo. Porque funde iminência e transcendência... silêncio, não se deve confundir com a pausa tradicional. Esta, também ausência de som, no entanto, é parte objetiva da estrutura formal, articulando e separando frases e motivos. Não é meio de expressão feito o silêncio, o qual tem de ser vivido subjetivamente e interpretado como tal, causando expectativa e tensão... o som não pode ser separado do espaço, aparentemente vazio, em que ele ocorre. Da mesma forma como as partículas não podem ser separadas do espaço que as circunda. É o som – não podendo ser considerado como entidade isolada – que determina e define a estrutura do espaço do silêncio. Porque tem que ser compreendido como condensação parcial de um campo sonoro contínuo e onipresente, presente por toda a parte. O silêncio deve ser considerado como fundo gerador de todos os sons e suas interações mútuas. O aparecimento e desaparecimento de sons, por seu lado, deve ser compreendido como formas de movimento desse mesmo campo e, se quiserem, de um holomovimento... A unificação dos conceitos, aparentemente opostos, som e silêncio, na estética relativista do impreciso e paradoxal, destrói, forçosamente, a noção tradicional de signos musicais isolados. Os signos sonoros da partitura tradicional, através da produção musical dos últimos trinta anos, dissolveram-se, cada vez mais, em padrões de probabilidade... A ênfase, no entanto, na mudança de função dos signos sonoros na partitura moderna e na transformação dos mesmos em relações e relacionamentos sem dúvida, terá implicações de longo alcance na estética e arte musical como um todo; pois, representa uma reviravolta muito maior na sintaxe da linguagem musical do que a causada por dodecafonismo ou serialismo, por exemplo, princípios estes estruturais, que deixaram intactos os fundamentos estéticos da composição musical."

Koellreutter (A Imagem do Mundo na Estética do Nosso Século)

"For both Riemann and Helmholtz, the problem of hearing was a significant part of their larger enterprises, an intermediate zone in which waves, geometry, and sensation met... questions of hearing must have seemed very important to Riemann if he set them next to or even ahead of his other ambitious projects in electrodynamics, gravitation, and number theory... we can read Riemann’s 'Mechanism of the Ear' as a nascent essay 'On the Hypotheses that Lie at the Foundations of Hearing,' comparable to his earlier work on the hypotheses he considered fundamental to geometry... Though in his 1854 lecture Riemann held that 'color and the position of sensible objects are perhaps the only simple concepts whose instances form a multiply extended manifold,' by 1866 he seems poised to treat hearing as a further example of such a manifold... Where Helmholtz took evidence from hearing and seeing into his geometric investigations, Riemann traversed an opposite course, applying geometric insights to model the functioning of the ear."

Peter Pesic (Helmholtz, Riemann, and the Sirens)

"Riemann is clearly concerned that science at the time—based on Newtonian notions of causality—was heading in the wrong direction. He draws a distinction between Newton’s approach, which he characterizes as 'synthetic', and that of the philosopher Herbart, which he calls 'analytic'. Riemann had in fact studied Herbart’s work closely, and one can say they both subscribed to a similar idealistic outlook, with roots reaching back to Plato... Another idealist who was part of Riemann’s philosophical circle, Gustav Fechner was deeply concerned with trying to understand how all physical stimuli—whether vibration amplitude, sound, light, smell, pressure, or anything else—were transformed into percepts in the mind... Riemann infers that sensations need to be considered in terms of quantitative relations or measurements (that is, making use of Fechner’s law) and that we can learn about per- ception by studying the manifold structure of the higher-dimensional spaces described by these quantities... He lists four physical processes, at the top of the list being 'The absorption of elastic fluids by liquids' and the last of which is 'Galvanic currents,' which no doubt means nerve firings... Put simply, hearing involves the mind reaching out through the ear to per- ceive vibrations in the external world."

Andrew Bell, Bryn Davies, & Habib Ammari (Riemann, the Ear and an Atom of Consciousness)

"These views were confirmed by the behaviour of physical phenomena known to classical science; hence the uniqueness of time and the absolute character of simultaneity had been accepted. In other words, the simultaneity and the order of succession of two spatially separated events were assumed to constitute facts transcending our choice of a system of reference... But the point we wish to stress is that if perchance experiment were ever to suggest that simultaneity was not absolute, no rational argument could be advanced to prove the absurdity of this opinion. As we shall see, Einstein's interpretation of certain refined electromagnetic experiments consists precisely in recognising the relativity of simultaneity and the ambiguity of duration... As is the case with space, mathematical time is an amorphous continuum presenting no definite metrics. The concept of congruence or of the equality of successive durations has no precise meaning; and a definition of time-congruence can be obtained only after we have imposed some conventional measuring standard on an indifferent duration... What is commonly called the sense of rhythm, which manifests itself in the primitive music of drum beats and in the dances of savages, is nothing but a consequence of this intuitive understanding of time-congruence."

A. D'abro (The Evolution of Scientific Thought)

"A friend of mine, in consequence of a fever, totally lost his sense of hear- ing. He had been very fond of music before his calamity; and, strange to say, even afterwards would love to stand by the piano when a good performer played. 'So then,' I said to him, 'after all you can hear a little.' 'Absolutely not at all,' he replied; 'but I can feel the music all over my body.' 'Why,' I exclaimed, 'how is it possible for a new sense to be developed in a few months!' 'It is not a new sense,' he answered. 'Now that my hearing is gone I can recognize that I always possessed this mode of consciousness, which I formerly, with other people, mistook for hearing.' In the same manner, when the carnal consciousness passes away in death, we shall at once perceive that we have had all along a lively spiritual consciousness which we have been con- fusing with something different."

Peirce (Immortality in the Light of Synechism)

"Writing a novel, Joyce said, was like composing music, with the same elements involved. But how can chords or motifs be incorporated in writing? Joyce answered his own question, 'A man might eat kidneys in one chapter, suffer from a kidney disease in another, and one of his friends could be kicked in the kidney in another chapter.' As a matter of fact, he announced, his book was to be among other things the epic of the human body. One organ or another would dominate each episode. To override the dichotomy of body and soul, to reveal their fundamental unity, he was displaying the mind's imagery under the influence of particular physical functions..."

Richard Ellmann

"Unità pseudocombinatorie. Sono elementi de un sistema expressivo non correlati a un contenuto... di tale genere sarebbero i giochi, le struture musicali, i sistemi formalizzati, le combinazioni di elementi non figurativi in pittura. Ma è proprio dei sistemi 'monoplanari' fare apparire ogni antecedente come segno prognostico del conseguente, e Jakobson [Coup d'oeil sur le développement de la sémiotique] ha sottolineato a piú riprese questo aspetto delle composizioni musicali e della pittura astratta, continuo rinvio della parte al tutto e di una parte a un'altra parte, stimolazione di attese, fenomeno di 'significanza' diffuso lungo tutta l'estensione di una testura cronologica o spaziale."

Umberto Eco, Semiotica e filosofia del linguaggio

"The glass houses of Mies van der Rohe... There is no such thing as an empty space or an empty time... try as we may to make a silence, we cannot. For certain engineering purposes, it is desirable to have as silent a situation as possible. Such a room is called an anechoic chamber, its six walls made of special material, a room without echoes. I entered one at Harvard University several years ago and heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my nervous system in operation, the low one my blood in circulation. Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music... But this fearlessness only follows if, at the parting of the ways, where it is realized that sounds occur whether intended or not, one turns in the direction of those he does not intend. This turning is psychological and seems at first to be a giving up of everything that belongs to humanity, for a musician, the giving up of music. This psychological turning leads to the world of nature, where, gradually or suddenly, one sees that humanity and nature, not separate, are in this world together; that nothing was lost when everything was given away. In fact, everything is gained."

John Cage (Experimental Music)

"Nous pouvons affirmer que l’évolution de l’histoire de la recherche contrapuntique européenne a convergé vers une solution qui est mathématiquement caractérisée par concentration et séparation maximales. C’est là un résultat remarquable puisqu’il donne au fil historique un arrière-plan systématique: la géométrie du tore des tierces et son application à la géométrie des dichotomies fortes. En revenant aux réflexions autour d’une logique hors-temps en musique, il apparaît que la structure géométrique du tore des tierces force un développement historique vers une structure contrapuntique optimale d’une façon tout à fait parallèle aux lois de la physique qui forcent le développement historique de la chimie du carbone et par cela, implicitement, la biologie et finalement, dans un laps de temps très court, l’apparition soudaine de l’humanité."

Guerino Mazzola (La vérité du beau dans la musique) 

"It is music which he sees as the most direct representation or expression of the Will, and simultaneously as the art form most immediately capable of freeing us from the force of the Will. But more than this, music constitutes for him a kind of philosophising without concepts, and furthermore he claims, if one were to succeed in conceptualizing music accurately, then one would have succeeded in conceptualising and explaining the world, as music is its essence, its in-itself..." 

"... what is being represented is not the outside world of nature, which Schopenhauer sees as Schein, mere illusion or appearance. Instead it is inner nature, the force of the Will itself, as a kind of life force, which, through the transfiguring power of music and the detached self-reflectivity which results, gives immediate access to the world of ideas behind the world of appeannce. This is a kind of pure knowledge, chancterised by aesthetic disinterestedness and detached from the blind force of the Will, a form of 'cognition without concepts'. But, Dahlhaus suggests,'this esthetic rescue of ideas is precarious and threatened: the realm of esthetics is a realm of appearance and even ideas sink to this realm if they are entrusted entirely to esthetic contemplation.' This extreme version of the theory of expression as immediate manifestation of the inner world of feelings lead, in fact, to the contemplation of pure form. That is to say, it leads paradoxically back to formalism and the theory of form. Thus we arrive at a point where the idea of pure expression, as put forward by Schopenhauer, becomes what is sometimes mistakenly regarded as its opposite: formalism."

Max Paddison (Music as ideal)

**************************************************************

"[L'atonalisme] fonctionne comme déclencheur pour la libération d'un refoulé psychique dont on ne remarquera pas sans raison qu'elle se produit à Vienne au début de ce siècle, mais il fournit aussi les outils pour la découverte de toutes nouvelles régions sonores et sensibles, expressives et descriptives, et ouvre la voie à une exploration et une expérimentation inouïe de notre connaissance du monde et de nous-mêmes, individus et collectivités. C'est surtout Webern et la musique post-wébernienne qui vont poursuivre cette avancée, mais, à partir de leurs mises à jour, toute la musique moderne même stylistiquement 'pré-schoenbergienne' apparaît sous une lumière nouvelle..."

"Le Siècle des Lumières, s'il est celui de l'espoir en une meilleure Harmonie du monde, est aussi bien celui où se développe une série de scepticismes radicaux: pratiquement toutes les grandes oeuvres de la musique tonale se définissant par les tensions et contradictions qu'elles entretiennent avec le système 'linguistique' dans lequel elles s'expriment."  

"Techniquement parlant, il s'agit de substituer aux constellations quasi squelettiques — mais combien 'intensifiantes'! — de la texture wéberienne... une circulation tout aussi permanente, mais dont les éléments, plus fluides, sont des groupements de nature plus ou mons traditionnelle, opposés les uns aux autres, et donc mis en rapport les uns avec les autres, soit par leur 'région' quasi tonale, soit précisément par leur degré de familiarité ou d'étrangeté 'modale', au sens élargi et généralisé du mot, le tout au sein d'une pratique de la continuité linéaire relativement homogène..."

"... et l'esthétique musicale de Mozart, où se marient une sorte de lumineux libertinage et la plus nocturne des nostalgies métaphysiques..." 

- Henri Pousseur, Musiques Croisées

"No mundo micro-físico as partículas parecem ter a escolha de vários modos de reagir. O efeito da atuação do elétron sobre o átomo é imprevisível, livre pela natureza. Só depois de muitas experiências, por meio de estatísticas, observam-se certos fenômenos que permitem uma previsão média... Arracionalidade é diferente de irracionalidade. Por irracionalidade entende-se a ação sem uso consciente da razão. Arracionalidade consiste na transcendência do pensamento racional, ou seja, a integração do pensamento tradicional num novo pensar mais globalizante." 

"Na música o ponto de fuga [perspectiva] é o centro tonal."

"... iteração... dualismo... A unidade formal (síntese) é obtida por um processo (desenvolvimento)... A sonata é um exemplo de forma discursiva constituída por dois temas contrastantes (elementos opostos)..."
- H. J. Koellreutter, Introdução à Estética e à Composição Musical Contemporânea

"... en faisant systématiquement appel à tout ce qui peut provoquer une désorientation auditive... l'abolition de l'opposition [traditionelle] entre le vertical et l'horizontal, l'usage prioritaire de la dissonance et des intervalles disjoints [septième et neuvième]... la dispersion d'un petit nombre de sons au sein d'un ambitus très étendu, les brusques oppositions de tessiture et de registre... modes d'attaque..."
- (sur Webern) Francis Bayer, De Schönberg à Cage

A very interesting proposition:

- "What can music tell us about the nature of the mind? A Platonic model," Brian D. Josephson & Tethys Carpenter (text from a conference proceedings);

***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien):

"Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from "Mode," entry in Brittanica, by Mieczyslaw Kolinski);

See also: 

- view from Berthe Trépat's apartment;

- desubicarse (Lucrecia Martel — La Niña Santa, 2007); 

- (Electronic) High or Middle Culture?

- Piano Playing (Kochevitsky); 

- Favorite quotes from Detlev Claussen's Theodor W. Adorno;

- Elements of Musical Language (by Bruno Kiefer); 

- Call me Helium; 

- List of musicians; 

- Poetry, the "Avant-Garde" Tradition and Pound; 

- Concretos &/ou Brazilian Inteligentsia;

And also:

- Da Ursa à Ursa Maior: Perspectivismo e Analogismo na Literatura Brasileira; 

- A Stragegy for Writting: Contracting Contemplation in Budapeste and Leite Derramado;

- ERRATA list;

- "Helmholtz, Riemann, and the Sirens" (Peter Pesic); 

- "Fundamental Frequency and Harmonics" (Karen Steffen Chung/National Taiwan University);

- "Combination Tones and the Non-Linearities of the Human Ear" (Batuhan Bozkurt/Earslap);

- "Subjectivité lyrique et chanson populaire: Archiloque et le genre iambique de Friedrich Schlegel à Friedrich Nietzsche" (Christophe Corbier); 

- "Nietzsche & la rythmique grecque. Une approche philologique & anthropologique" (Carlotta Santini); 

- "Pulse as Dynamic Attending: Analysing Beat Bin Metre in Neo Soul Grooves" (Anne Danielsen, 2018); 

- "Time and Meter in Mande Drumming from Mali" (Rainer Polak & Justin London, MTO, 2014);

- "Musica e Experiência Estética em Nietzsche" (Anna Hartmann Cavalcanti); 

- "Hibridismo, Consistência e Processos de Significação na Música Modernista de Villa-Lobos" (Rodolfo Coelho de Souza); 

- "A Evolução das Concepções de Tonalidade e Atonalidade na Obra de Villa-Lobos" (Rodolfo Coelho de Souza); 

- "Aspetti del linguaggio armonico di Aleksandr Skrjabin: Sguardo alla produzione pianistica" (Luigi Verdi, Diastema Diastema: Rivista di cultura e informazione musicale);

- "Kandinskij e la musica" (Luigi Verdi, Civiltà musicale); 

- "Schoenberg and the Occult: Some Reflections on the Musical Idea" (John Covach, Theory and Practice); 

- "Balzacian Mysticism, Palindromic Design, and Heavenly Time in Berg's Music" (John Covach);

- "Som-silêncio em Concretion 1960, de Hans-Joachim Koellreutter" (Luigi Antonio Irlandini, Revista Eletrônica da ANPPOM);

- "Der Morgenlandfahrer und der tonale Abenteurer Neues über Scelsi und Tosatti" (Johannes Menke, 2015);

- "Alban Berg: Sonate pour Piano" (Adorno, traduction de Philippe Joubert);

- "On Some Relations between Music and Painting" (Theodor Adorno, Susan Gillespie's translation);

- "The Sticky Riff: Quantifying the Melodic Identities of Medieval Modes" (Kate Helsen, Mark Daley, Jake Schindler, Empirical Musicology Review 2021);