Tuesday, May 17, 2011
Metamusical Inquiry Breakthrough Shock
Dr. Hardwick Herpes, legendary semiologicohermeneutician and metamusicologist, has revealed a theoretical breakthrough that threatens to stand the metamusical world on its head -- or perhaps he would prefer to say that it will put metamusicology back on its feet.
Dr. Herpes, who posts on this blog but has forgotten his password, spoke exclusively to Global HQ Freelton about his exciting new breakthrough.
"What we call metamusic in the semiologicohermeneutical field," he told us in the library of his rambling two-bedroom postwar bungalow in Birchmount Park, Toronto, "has always been dedicated to the elimination of non-musical standards that have been imposed on music. The field of metamusic has been muddied recently by the co-optation of the name metamusic by purveyors of CDs they claim stimulate the brain. After long consideration based on the assumption that these new metamusicians were mere conceptual bandits, I suddenly realized that they might actually have had an insight that we professional semiologicohermeneuticians could develop into a major conceptual breakthrough.
"And finally I broke through, by the simple expedient of focussing on the original meaning of the word metamusic. The word literally means 'after music,' when in fact the oeuvre of the Anachronisms, the world's greatest and definitive metamusicians, has been devoted to stripping modern 'music' of affectation and unnecessary elaboration.
"In other words, what the contemporary world calls music is in fact a corruption of music. It is literally metamusic, since it what you get after music has been corrupted. What the Anachronisms produce is music, the original outpouring of creative minds uncorrupted by later application of unnecessary technical performance standards or harmonic 'theory'."
Dr. Herpes had to leave at this point for an aromatherapy session, but consultation by Global HQ Freelton with members of the group revealed that his stunning breakthrough may have an immediate influence on the Anachro-oeuvre. Guest artist Red Slapp, for example, was so impressed that he promised to develop what he described as an ur-musical version of "Tenderly" that he hopes to record as part of the group's latest project.
Other important semiologicohermeneuticians, such as Oxford don Dr. Putyourshirtonbackwards and freelance scholar Don Zither, have yet to comment. Dr. Herpes' new theoretical position may end up exploding semilogicohermeneutical metamusicological theory or it may end up being a catalyst for the creation of more and greater music (sic). Whatever happens, history will record it as a defining intellectual moment of the 21st century.
Dr. Hardwick Herpes, legendary semiologicohermeneutician and metamusicologist, has revealed a theoretical breakthrough that threatens to stand the metamusical world on its head -- or perhaps he would prefer to say that it will put metamusicology back on its feet.
Dr. Herpes, who posts on this blog but has forgotten his password, spoke exclusively to Global HQ Freelton about his exciting new breakthrough.
"What we call metamusic in the semiologicohermeneutical field," he told us in the library of his rambling two-bedroom postwar bungalow in Birchmount Park, Toronto, "has always been dedicated to the elimination of non-musical standards that have been imposed on music. The field of metamusic has been muddied recently by the co-optation of the name metamusic by purveyors of CDs they claim stimulate the brain. After long consideration based on the assumption that these new metamusicians were mere conceptual bandits, I suddenly realized that they might actually have had an insight that we professional semiologicohermeneuticians could develop into a major conceptual breakthrough.
"And finally I broke through, by the simple expedient of focussing on the original meaning of the word metamusic. The word literally means 'after music,' when in fact the oeuvre of the Anachronisms, the world's greatest and definitive metamusicians, has been devoted to stripping modern 'music' of affectation and unnecessary elaboration.
"In other words, what the contemporary world calls music is in fact a corruption of music. It is literally metamusic, since it what you get after music has been corrupted. What the Anachronisms produce is music, the original outpouring of creative minds uncorrupted by later application of unnecessary technical performance standards or harmonic 'theory'."
Dr. Herpes had to leave at this point for an aromatherapy session, but consultation by Global HQ Freelton with members of the group revealed that his stunning breakthrough may have an immediate influence on the Anachro-oeuvre. Guest artist Red Slapp, for example, was so impressed that he promised to develop what he described as an ur-musical version of "Tenderly" that he hopes to record as part of the group's latest project.
Other important semiologicohermeneuticians, such as Oxford don Dr. Putyourshirtonbackwards and freelance scholar Don Zither, have yet to comment. Dr. Herpes' new theoretical position may end up exploding semilogicohermeneutical metamusicological theory or it may end up being a catalyst for the creation of more and greater music (sic). Whatever happens, history will record it as a defining intellectual moment of the 21st century.
Labels: Metamusic
Tuesday, February 02, 2010
Anachronisms Rule Non-Shock
Once again the leadership of The Anachronisms in the music industry has been confirmed. At Sunday's Grammy Awards, not only did the group win no awards, but it was not mentioned even once during the "ceremony". This is the 29th consecutive Grammy production during which the position of The Anachronisms as the antithesis of the bland, hackneyed, unstimulating, derivative, and inauthentic trash that Grammy electors love to "honour" has been confirmed by the insistence of the patrons of the pedestrian on acting as if The Anachronisms, and metamusic as a whole, do not exist.
When asked to comment on this latest confirmation of The Anachronisms as the leading group of any kind, anywhere, Anachronism Sid herpes replied "What?".
Once again the leadership of The Anachronisms in the music industry has been confirmed. At Sunday's Grammy Awards, not only did the group win no awards, but it was not mentioned even once during the "ceremony". This is the 29th consecutive Grammy production during which the position of The Anachronisms as the antithesis of the bland, hackneyed, unstimulating, derivative, and inauthentic trash that Grammy electors love to "honour" has been confirmed by the insistence of the patrons of the pedestrian on acting as if The Anachronisms, and metamusic as a whole, do not exist.
When asked to comment on this latest confirmation of The Anachronisms as the leading group of any kind, anywhere, Anachronism Sid herpes replied "What?".
Labels: Metamusic
Monday, July 16, 2007
"Art is art to the extent that it rejects conventional ways of looking at the world and instead attempts to project itself into the world" (J-I. Ange).
"Le monde n’est pas un produit de l’art, et l’art n’est pas un produit du monde" (Roland Barphe).
That is what fucking art is, and what it means to fuck art. You don't fuck art by writing "People tell me you're wasting my time/Keep wasting it, baby, because it feels so fine." "Baby," indeed.
"Le monde n’est pas un produit de l’art, et l’art n’est pas un produit du monde" (Roland Barphe).
That is what fucking art is, and what it means to fuck art. You don't fuck art by writing "People tell me you're wasting my time/Keep wasting it, baby, because it feels so fine." "Baby," indeed.
Labels: Metamusic
Monday, July 09, 2007
I would remind Sid that no matter what he thinks (as described in his last post) of our advice, if he'd listened to me and his mother he'd never have ended up writing his soppy love song "That Way." Of course, Sid is our son, so we have borne up silently under the opprobrium, but we believe it's time he lost his fascination with Lawrence Welk.
Labels: Metamusic
Thursday, July 05, 2007
I got enough of the old man and the old lady's bullshit when I was growing up, and believe me -- publishing it here ain't helping anyone.
You want to know what metamusic is? Then listen to "Art." What do we say over and over again in that song? Right -- "This is fucking art."
Meta-art is art fucking art. Metamusic is music fucking music. And what happens when two things fuck? New things are born, eh?
Okay, more often I get the clap.
You want to know what metamusic is? Then listen to "Art." What do we say over and over again in that song? Right -- "This is fucking art."
Meta-art is art fucking art. Metamusic is music fucking music. And what happens when two things fuck? New things are born, eh?
Okay, more often I get the clap.
Labels: Metamusic
Friday, May 11, 2007
My husband, Hardwick Herpes, has been mooning about the house for weeks now talking about re-defining metamusic. Nothing seems to be getting done, however, so I decided to take the matter in hand.
Of course, metamusic needs to be redefined. Purveyors of New Age recordings which are supposed to alter your brain waves have co-opted the term. I'm afraid that my husband muddied the waters a bit by his popularization of the term metamusic.
"Metamusic" literally means "after music," which implies that it is not music. The point of the Anachronisms work (sic, Hardwick, not oeuvre), however, is that music has become corrupted by commercial considerations and an over-emphasis on technique. That is, they have returned to real music, while corporate interests have got muic consumers hooked on "music."
You will notice that I talked about consumers of music. The music market requires consumers, so instead of encouraging people to play, "music" suppliers encourage them to appreciate music instead. The work of the Anachronisms, on the other hand, has not been commodified. It is even distributed gratis at NEW IMPROVED HEAD.
The Anachronisms' work is active, while commodified music is passive. The Anachronisms' work is expressive, while commodified music is obsessed with technique.
In short, the Anachronisms' work is music. All the other stuff is what's left after music has been stripped of its soul and forced to serve the interests of wholesalers and retailers.
The Anachronisms' work, and the work of others like them is music. All the rest is metamusic.
Of course, metamusic needs to be redefined. Purveyors of New Age recordings which are supposed to alter your brain waves have co-opted the term. I'm afraid that my husband muddied the waters a bit by his popularization of the term metamusic.
"Metamusic" literally means "after music," which implies that it is not music. The point of the Anachronisms work (sic, Hardwick, not oeuvre), however, is that music has become corrupted by commercial considerations and an over-emphasis on technique. That is, they have returned to real music, while corporate interests have got muic consumers hooked on "music."
You will notice that I talked about consumers of music. The music market requires consumers, so instead of encouraging people to play, "music" suppliers encourage them to appreciate music instead. The work of the Anachronisms, on the other hand, has not been commodified. It is even distributed gratis at NEW IMPROVED HEAD.
The Anachronisms' work is active, while commodified music is passive. The Anachronisms' work is expressive, while commodified music is obsessed with technique.
In short, the Anachronisms' work is music. All the other stuff is what's left after music has been stripped of its soul and forced to serve the interests of wholesalers and retailers.
The Anachronisms' work, and the work of others like them is music. All the rest is metamusic.
Labels: Metamusic
