from Roscoe's Quick Notes

Cubs vs Cardinals

This afternoon, a Rivalry game.

The Chicago Cubs vs the St. Louis Cardinals, a classic MLB rivalry game, is scheduled to start this afternoon at 3:05 PM CDT. As I usually do, I'll follow the game's score and stats in real time via MLB's Gameday Service where we can also find a link to the radio-call of the game.

And the adventure continues.

 
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from The happy place

I was listening today, on my last day of work, to the Irreligious album by Moonspell. It’s my favourite one, not because the best track is on there, but rather because every single track (except Raven Claws) is 100/100

And that’s my firm conviction

My cousin, a great philosopher, he played me this album a long time ago and it blew my mind then.

It was during my most eccentric period of life, I had a green cape and green nail polish which miscoloured my nails, a green jacket and hair which was also green, a green hoodie cut in a Romulan fashion. (From star trek of course).

I don’t know why I was so strangely clothed back then, I think it may have been a natural progression of the style I adopted in high school, a rejection from a norm which I felt had rejected me. I wasn’t aware of anyone dressing like this.

Only by becoming very strange, I found a sense of self deep within.

Or something, I felt like something.

This was not to get attention, but rather a way to not disappear. Or maybe a way to seize control of my life. Or maybe a ward against ”normal” people.

So we lent this CD or a copy to the girl I was in love with at the time, she who spat in my food. I remember lending it to her because her favourite track was Raven Claws.

But this is of course all in the past, just like the job I just finished.

And I just try to navigate this life as best I can.

 
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from M.A.G. blog, signed by Lydia

Lydia's Weekly Lifestyle blog is for today's African girl, so no subject is taboo. My purpose is to share things that may interest today's African girl.

This week's contributors: Lydia, Pépé Pépinière, Titi. This week's subjects: Soft Power Dressing for the Accra Girl, African cultural heritage for sale, free of charge, And what to do if your baby is an idiot? Beans and blue zones, and Jollof Goat, delivery from Nyonyo

Soft Power Dressing for the Accra Girl. Who said corporate fashion has to be stiff, stressful, and smelling faintly of printer ink? Enter the kimono — the effortlessly chic fashion piece quietly transforming office wardrobes from “HR-approved” to “main character energy.” Why the Kimono Works for Corporate Wear. A kimono adds instant sophistication without trying too hard. It’s that magical piece that says: “I closed deals today… but I also know the best cocktail spot in Osu.” The “I’m Busy but Stylish” Hack The beauty of kimonos is that they make lazy dressing look intentional. Running late for work? Throw a kimono over: A plain midi dress Sleeveless top and pants Pencil skirt and tank top Suddenly everyone thinks you planned the outfit for days. Fashion is funny like that. Kimono Length Matters Short kimonos = playful Friday office energy Mid-length kimonos = polished everyday chic Long flowing kimonos = dramatic “don’t disturb me unless it’s important” energy. Choose wisely depending on your mood — and whether your office AC is fighting for its life. Fashion memo: So next time your wardrobe feels boring, skip the predictable blazer and reach for a kimono instead. Because spreadsheets are temporary. Style is forever. African cultural heritage for sale, free of charge. Great was my surprise when I saw a woman dressed as per attached photograph. In a mini village in the French countryside, 600 km from Paris. I’d be very surprised if she had visited family or friends in Ghana and brought this as a souvenir. And it was different, it was printed, not woven. So what are we going to do? Those involved in the production of these local garments, be they kente, adinkra batakari or the recently launched bambolse are quite a few and are earning a little bit of money from it, through local sales and from a few cheap sales at a local tourist market. Whilst a dress as per picture, rightly marketed, should retail for at least 1000 GHC in Europe. But there’s a bit of light in the tunnel. Since September 2025 our kente is WIPO protected (World Intellectual Property Organization), meaning whoever produces whatever can not call it kente unless it is kente made in Ghana. And this WIPO thing is UN recognized (just hoping that Trump does not blow up the UN). Ayeeko to the people behind this, it must have been a lengthy and frustrating process, these things are not done overnight. And pray they will also seek protection for our adinkra, batakari and bambolse. And anything we do officially overseas, cultural events, things organized by our embassies and everything else should show our heritage. Put Ghana on the map. Not only in the knock out.

And what to do if your baby is an idiot? You've taken all the precautions, no sickle or noted madness in your or his family, you did not take alcohol or certain medications during pregnancy and you ate healthy. And still, disaster, your child is born with Down Syndrome or something else which will make it never perform normally in society and which will make it need constant care. Fact is that abnormal children is happening more often these days than 30 years ago. Figures are difficult to get, Down Syndrome is about 0.15% (15 per 10,000), but if you add other problems you get to about 1.5 %, 15 per 1000 (per thousand), or 8000 “abnormal” children born every year in Ghana). You are the mother, so you are going to give that care. So here you are, you are now doomed. Till you die. Is that fair? Or should you rather put the child up for adoption, relinquishment? And continue with your life? Or send it to the village where people are more used to have abnormal children live amongst them, care for them, than in the cities? In some of the far-off villages they still have their own way to solve such problems, at night the child is taken away by ghosts or similar, and not seen again. Food for thought? Anyway, eat healthy during your pregnancy.

Beans and blue zones. Blue zones are areas in the world where many people become an easy hundred years old. Famous are Loma Linda in the USA, Costa Rica, Sardinia in Italy, Ikaria in Greece and Okinawa in Japan. Apart from healthy life styles like lots of walking and moving and busy social lives researchers have of course looked at what these people eat. What really sticks out is that the average blue zoner eats 5 times more beans than the rest of the world. Ghanaian doctors mostly do not recommend beans. It is true that they can be a bit heavy to digest if you are not used to them, so take it easy in the beginning. A little more after a few days and so on. And soak them for at least 24 hours before cooking to get rid of the oligosaccharides, a form of sugar we find difficult to digest, and phytic acids which block iron and zinc absorption. Throw the soaking water away. Beans are also good against constipation, but here again, go easy in the beginning or you may even be misdiagnosed with appendicitis (I know of such a case). An odd fact is that Cubans, who are poor, live about as long as Americans, who have all the modern health gadgets. The staple in Cuba is beans, maybe with a side dish of some rice and veggies. And some fish or meat. Maybe time to re-evaluate our rice with chicken or chicken with rice?

Jollof Goat, delivery from Nyonyo. More bone than goat meat, and the rice not sufficiently cooked, and the oil had a funny taste. Anyone know of an evaluation list of food delivery providers?

Lydia...

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from TechNewsLit Explores

The National Press Club holds its 27th annual members photography exhibit again this September, which we've organized for the 11th straight year. The exhibit is NPC's celebration of visual storytelling, with the show's theme this year of “Life, liberty, and the pursuit of happiness.”

NPC's annual exhibit highlights special images produced by its members, displayed in the Club's main lobby in downtown Washington, D.C. for the entire month of September. Images in the exhibit are displayed digitally on four large monitors in continuous slideshows. Participants are asked to submit up to five of their best photos, not previously shown in the Club's annual show. The event is an exhibit, and not a contest. No judging, juries, or prizes are involved.

The exhibit gives Press Club members a chance to display their photography skills to professional colleagues, as well as employer and client prospects among the membership and the thousands who visit the Club for events. But you have to be an NPC member to take part. Here's more about membership.

The show draws participants from throughout the Club's journalist and communicator members. While there are still news photographers out there (myself included), many reporters are also asked to do their own photography. Plus, editors and publishers need to commission and recognize quality photography, and use visual media effectively to tell their stories.

Since it began in 1999, the Club's exhibit displayed outstanding photojournalism, but in recent years also shown street, art, landscape, and wildlife photography. Starting last year, the show introduced a theme to help focus contributions. This year, the theme is “Life, liberty, and the pursuit of happiness,” reflecting the nation's 250th anniversary of independence. But photos on any subject are accepted.

The exhibit has become one of the Press Club's most participative events, with 50 or more participants each of the past few years exhibiting some 200 photos each year. We first organized the exhibit in 2016, and since then added digital image displays to print photos shown earlier and online exhibit catalogs beginning in 2019. Links to the catalogs are on the TechNewsLit exhibits page.

Copyright © Technology News and Literature. All rights reserved.

 
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from brendan halpin

Today’s the third day of the heat emergency in Boston. It’s supposed to hit 96 today with a dewpoint of 70 degrees, which equates to: miserably hot.

The city of Boston has 18 cooling centers open. Good for them. The city also has a partnership with five museums, so the Museum of Science, the ICA, the JFK Library and the Edward Kennedy Museum of Sexual Harassment—sorry, Edward Kennedy Institute for the US Senate (tomato tomahto) are all open for free so people can get cool.

All of this is good. But today is a holiday, so public libraries are closed. Which means vital, possibly lifesaving cooling is unavailable to a lot of people. Check out the City’s own map and look at the huge chunk of densely-populated Dorchester that doesn’t have an indoor cooling center open (City cooling centers are represented by snowflakes):

Also note that there are five libraries in the map area (they’re represented by the little “book with a roof over it” icon) with no other free indoor cooling facilities. The spray icons are for spray decks and splash pools, which are good, but maybe not great for an 80 year old or someone in an electric wheelchair.

The city could have opened libraries today. This would have involved paying overtime to a lot of library employees. So the city chose not to do it. Presumably there’s no room in the budget for it.

But remember, budgets don’t just grow organically—they are the result of choices made by the people who make the budgets.

I live near the construction of the new White Stadium, which desperately needed renovation, but make no mistake: the City of Boston is building a stadium instead of helping residents stay cool today.

At this construction site, there are usually two or three Boston Police officers making at least 75 dollars an hour to do nothing. They literally stand there for eight hours doing nothing. Actually sometimes they sit in their cars doing nothing. This is the Boston Police overtime budget at “work.” You’ll see similar scenes all over the city wherever construction or utility work is going on. The police overtime budget was level funded even as the school budget was cut this year because the people who make decisions in our city think that it’s more important to have cops standing idle outside of construction sites than teachers in classrooms. And that it’s more important to have cops standing idle than to open libraries during a heat wave.

But maybe churches are open today. Certainly the mayor could be calling on the city’s faith community to help serve the community at large. After all, they leech off city services without contributing anything to the city’s tax base. The least they could do is throw open their doors to help their neighbors stay cool. Maybe some are doing that—I checked the websites of some prominent churches and found nothing.

This isn’t our first potentially deadly heat wave and it won’t be our last. Hell, it probably won’t be the last one this summer. Our local and state governments have a responsibility to their citizens, and they are failing to meet it. They’re failing to recognize the seriousness of the climate emergency (Yes, the Commonwealth of Massachusetts still operates Hanscom Field, an airport for private jets, lest John Fish have to fly commercial) and they’re failing to prioritize the needs of broke, hot citizens over the needs of Weymouth-dwelling cops with boat payments.

Boston and Massachusetts are villainized nationally by fascists, who talk about our extreme left-wing government. I wish it were true, but I’d settle for even slightly left-wing at this point.

 
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from albaraaibnm47البراء بن محمد

الجمعة 18 محرم 1448

تنبيه

أحدثكم اليوم حديث الكاتب الذي يفضي ببعض تجربته لينتفع بها القارئ والكاتب. وأخصكم بتأملاتي في تجربة ثمانية أشهر في صناعة المحتوى الثقافي مرئيًا ومسموعًا ومكتوبًا في منصة أنى. حديثٌ شخصي متبسط لا يمثل أنى -فحساباتها معروفة مشهورة- بل يمثل تجربة إنسانية فيها.

أنى تكون المقدمة

(أنى ومن أين آبك الطرب *** من حيث لا صبوة ولا ريب

البيت للكميت بن زيد، وهو مطلع إحدى هاشمياته، وأنى: بمعنى كيف. وآبك:

معناه أتاك، والشاهد: استعمال «أنى» بمعنى «كيف)

شرح الشواهد الشعرية في أمات الكتاب النحوية – محمد حسن شراب

لم تكن أنى في حسباني وتقديري سوى أداة استفهام قلّ أن ترد في كلام الناس اليوم، وإن وردت ثمانٍ وعشرين 28 مرة في القرآن كلام الله عزوجل كما أحصاها محمد فؤاد عبدالباقي رحمه الله في كتابه المعجم المفهرس لألفاظ القرآن الكريم.

غير أنني تعلمت معنى جديدًا (1) لأنى وأحب أن يزاد في معاجم اللغة وقواميسها. أنى (مساحة للحكمة والجمال). وعهدي بهذا المعنى الجليل يبتدئ في ليلة من ليالي ربيع الآخر من عام 1447 لما فاتحت أخي سالم باعارمة في شراكة ثقافية مع إحدى الشركات، فدعاني -مشكورًا- إلى شراكة في مشروعه (منصة أنى الثقافية)، وقد تم الأمر في جمادى الأولى من ذلك العام.

ثم حانت ليلة الخميس [17 محرم 1448] فانقضى الموسم الأول، وأسدل الستار على المنصة، وبقيت آثار أمسياتها شاهدة على فضلها وشرف موضوعاتها. ونأمل عودتها قريبًا بإذن الله.

وتكفينا 190 مادة [أو تزيد] مرئية ومسموعة ومكتوبة بثت ونشرت في ثمانية أشهر في أربع منصات للتواصل: يوتيوب، وإكس، وإنستجرام، وتيك توك.

وأفضي إليكم في هذه المقالة بثلاثة أسرارٍ للتحول الذي شهدته بنفسي في هذه الرحلة الممتدة.

1- تجديد التعلم:

تعرفت إلى سالم رئيسًا وزميلًا في نادي اقرأ وفكر، وشهدت مجالسه الفلسفية والفكرية، وأحسب أنه شهد مني براعة في الكتابة، وتلخيصًا حسنًا لمجالس النادي [يسمونها لقاءات وأحب أن أسميها مجالس].

وقد لخصت 21 مجلسًا، وأشرفت على تلخيص الزملاء الفضلاء.

كنت آتي إلى اللقاء، فأعمد إلى هاتفي وألتقط شذرات من حديث الملقي، ثم أنصرف إلى البيت فأحرر الملخص لينشر في اليوم التالي.

وكان التلخيص الفوري -كما لاحظت- يصرفني عن التفاعل في المجلس، ويحملني على بذل الجهد في استخراج الخيط الناظم، وإعادة الكتابة من جديد.

ثم قدمت إلى أنى ممتلئًا بهذه الخبرة الجليلة، وألقيت أعباءها عن كاهلي لما قيل لي: الأمسيات مسجلة محفوظة.

وأدركت بعد قليل أن المجلس المحفوظ كالمجلس المشهود، وكليهما محتاجٌ إلى العناية والاجتهاد!

لقد وجب علي أن أستمع مرات وكرات حتى أظفر بخلاصة تستحق أن تكتب. والكلام الطويل -لا سيما النافع الماتع- يشق على من يريد أن يستخلص العظات والعبر واللطائف المستملحة والفوائد المهمة.

لم تنحصر مهماتي في التلخيص. إذ انفسح مجال الكتابة، واتسع نطاق العمل، وصرت أرتحل محمّلًا بمادة الأمسية إلى عوالم جديدة من المحتوى لم أجربها من قبل.

استغرقت الأمسية الأولى أمسيات عديدة كي أنجزها، وكذلك في الثانية حتى تناقصت المدة وتضاءل الجهد. والحق أن سالمًا لم يكن يتلقى ما أقدمه إليه بعين إعجاب تغض الطرف عن دقائق الأمور بل بعين فاحصة ناقدة، فأفادني ذلك كثيرًا، وأحسب أنني انتفعت منه في التحسين والتجويد.

وامتد العمل في المحتوى إلى الإشراف على تحرير المقاطع المطولة، واستخراج الشائق منها، والكتابة عنها ووصفها بأساليب مختلفة ولأغراض شتى. فاكتسبت مهارةٌ لا تقدر بثمن، والحمد لله رب العالمين.

ولا ينبغي لي أن أنسى مرئيات أخي عبدالوهاب رئيس فريق الإنتاج، وملاحظات الأخت أمجاد قائدة فريق إدارة المحتوى، ومعها الأخت رهف المصممة البارعة. فقد استفدت من هؤلاء جميعًا وإنني أشكر الله عز وجل ثم أخي سالم على الاجتماع في مشروع ثقافي فريد.

ما أكثر ما تعلمته في أنى! وهذه أهم خلاصة أبذلها لكل من يحب أن يدير صناعة المحتوى الثقافي (إن تجديد التعلم باكتساب علمٍ ثانٍ لا يبطل العلم الأول، بل يزيده قوة إلى قوته، ويثبته في القلب، ويجمعه إلى نظائره المتفرقة، ويوسع مداركه في العقل).

2- قوة التكرار والإصغاء:

ما الذي أتذكره من لقاءات أنى؟

أتذكر الأستاذ طارق القرني وهو يحدثنا عن (الامتلاء بالمفاهيم والطريقة المثلى في الحوار)، وحديث الأستاذ رائد العيد عن (الحق في البداية الجديدة وجمال التأمل في الهوامش)، وملاحظة الأستاذ سليمان الناصر لـ(تعدد تعاريف الفلسفة وفلسفة الأخلاق التي كتب فيها الفلاسفة المحدثون)، واقتباس الدكتور عبدالرزاق بلعقروز عن (عراء العدمية التي نعيشها، والكلمة التي تصنع الإنسان)، ولمحة الأستاذة أمل عبدالعزيز عن (بارتلبي النساخ، ومطلع رواية الغريب)، وتساؤل الأستاذ هيثم السيد عن (السكر الذي لا يحيبه الصينيون والتيك توك المحظور في بلادهم!).

وهل أنسى مجلس الأستاذ أسامة الواصلي في (الواقعية التي أعقبت المثالية وشاعرية أفلاطون) ؟ وهل أغفل يومًا عن كلمة الدكتور علي النهابي في (أثر الأدب في واقعنا المعاصر والغرابة التي يحتكم إليها الأدب)؟ أيليق ألَّا أشيد بإلقاء الأستاذ سعد الشريف لقصائد البردوني وإعجابه بذلك (المثقف النافع)؟ أينسى التاريخ تحذير الدكتور سعد البازعي من (تعاقب الأزمات وخوارزميات الذكاء الاصطناعي التي تبتلعنا)؟ وهل يلتفت أهل الدين والأخلاق إلى اجتماعهما في مصنفات علماء الإسلام وإلى مجلس الدكتور حامد الإقبالي؟

إنني لا أكاد أمر بمقطعٍ مرئي أو مسموعٍ لأنى من غير أن أستحضر بدايته أو خاتمته، ومن غير أن أستمتع بما فيه من الإشارات اللطيفة والفوائد العجيبة. ولولا الإنصات لما تحقق شيء من ذلك.

لقد أنصت للمتحدثين لأخرج شيئًا من علومهم وتجاربهم إلى المتلقين، ورأيت في ذلك أمانة في عاتقي، ووسيلة إلى التعريف بهم، والتعريف إليهم.

نعم لست أنكر أنني لم أكن أحصل على الفائدة كلها من أول مرة، لكن الإصغاء مع التكرار أوصلني إلى الكنز المتواري في الحديث.

وإننا أشد حاجة في عصر شتات الذهن وتفرق القلب إلى إصغاء صادق، واستماع باهتمام عسى أن نجد حلاوة الحديث، ونظفر بخلاصاته المهمة.

أكان العمل يخلو من بعض الأخطاء والهنات؟ كلا. فقد استدرك ضيف أو ضيفان على خطأ بعض الكلام الذي نسب إليهما، ووجب تصحيحه ونقله على وجهه.

فإن كنت تحب أن تستخلص أنفس ما في الحديث وأجمل ما في الكلام فأنصت واستمع وكرر الاستماع لتكون ممن قال فيهم الشاعر: (أخلق بذي الصبر أن يحظى بحاجته *** ومدمن القرع للأبواب أن يلجا)؟

3- الشريك الإنسان!

أنى راية نصبها سالم واجتمعتُ تحتها مع أمين شحود وندى القحطاني وداود صالح وأبان قاضي وفريقي الإنتاج وإدارة المحتوى المذكورين. وأرجو أنني لم أنس أحدًا ساهم في رفع الراية والتمسك بها.

نعم لكل واحدٍ منا غايته من الراية، وهدفٌ يتحقق من المشروع، لكن الشراكة التي استشعرتها مع أفراد المشروع ليست شراكة احترافية أو مهنية بل شراكة إنسانية تهتم بالثقافة وصنع الأثر.

شراكة أستشعرها في تفاعل ضيوف أنى مع محتواها الإعلامي.

وأستشعرها أيضًا في اهتمام الأصدقاء والمعارف بما قدمناه فيها.

ومنه تعلم أن إنسانية الشريك تتقدم المنافع التي يقدمها، أو المصالح التي تعود إليه بالنفع.

أنى تكون الخاتمة

لست أرى خاتمًا أليق بهذه المقالة من الإشارة إلى حسابات أنى في مواقع التواصل الاجتماعي، والتفاعل معها عسى أن تعود قريبًا وأن يقال أنى يأتي الموسم الثاني؟

قناة أنى في يوتيوب:

https://www.youtube.com/@anna_cultural

أنى في إكس:

https://x.com/anna_cultural

أنى في إنستجرام:

https://www.instagram.com/anna_cultural

أنى في تيك توك:

https://www.tiktok.com/@anna_cultural

فأنى تكون العودة؟

وكتب البراء بن محمد

في أواخر عصر الجمعة الساعة الحادية عشرة وتسع دقائق قبل غروب الشمس لإحدى عشرة إن بقين من شهر الله المحرم لعام ثمانية وأربعين وأربع مئة وألف.

 
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from Marshall Review

The octave belongs to nature. The guitar fretboard belongs to culture. The space between them is where the story of music unfolds.

I’ve walked into many a pub session in Ireland, cathedral choir rehearsals in England and Germany, and bluegrass and country-blues gatherings in Kentucky. And whilst I’ve never yet managed a conservatoire in Paris – I’m still waiting for the invitation – I can guarantee that they are all very different musical worlds.

Different instruments. Different customs. Different ideas about what makes a performance good. Different ways of learning. Different musical languages.

Yet beneath all that variety lies a curious fact. Whether the music comes from a sean-nós singer in Connemara, a Bach chorale in Leipzig, or a mandolin player on a Kentucky porch, everyone is listening with the same pair of ears.

And that simple observation has been the thread running quietly through my column on The Story of Music.

When I began the series, I thought I was writing about the theory behind music. Looking back over those ten articles, I realise I was really writing about something older and deeper: the conversation between nature and culture. The octave belongs to nature. The guitar fretboard belongs to culture. The space between them is where the story of music unfolds.

I began with something so ordinary that most of us never think about it: the octave. One note vibrating at exactly twice the frequency of another. Two sounds that are unmistakably different, yet somehow recognisably the same.

The octave appears in every musical culture not because musicians agreed to adopt it, but because it is written into the physics of sound itself. A vibrating string, a column of air, the human voice – all reveal the same relationship. Long before there were music schools, examination boards, manuscripts, orchestras, guitars or YouTube, there was the octave.

That discovery led humans to an even larger question. If the octave provides the frame, what happens inside it?

And here we encountered one of the great surprises in musical history. Nature gives us the boundary, but she does not provide the map. The space between one octave and the next contains no convenient grid, no easy markers. Human beings had to invent one.

Centuries of experimentation, much like you noodling on the fretboard or tinking at a piano. Singers found intervals that felt beautiful. Instrument makers found ways to reproduce them. Theorists searched for numerical relationships that explained them. Every culture developed solutions, and Western Europe developed several. Some favoured purity, others flexibility. Some worked beautifully in a handful of keys, while others made wider musical travel possible. Yet every solution carried the seed of a new problem.

The twelve-step chromatic scale emerged from that long negotiation. It was not inevitable. It was ingenious. By dividing the octave into twelve equal intervals, Western music acquired a shared framework. The wolf intervals that haunted earlier systems could be tamed. Musicians could move between keys without the entire structure collapsing. Instrument makers could build fretted and keyboard instruments capable of speaking a common language.

But it seems to me something curious happened. The new twelve-note framework did not erase the older musical world. Instead it settled over it like a transparent sheet laid upon an older map. The ancient seven note names survived. The old modal melodies survived. Even the strange symbols we call sharps and flats turned out to be fossils from an earlier age when names remained constant and pitches were nudged to suit circumstances.

Again and again we encountered the same pattern. New ideas rarely replaced old ones. They were layered upon them. The modes provided another example. Modern textbooks often present them as theoretical constructions, but history suggests the opposite. People were singing Dorian and Mixolydian long before anyone gave them Greek names. The patterns emerged first. The theory arrived later. Human beings discovered recurring ways of moving through sound and only afterwards developed the language to describe what they had already been doing.

Harmony followed a similar path. A vibrating string contains relationships within itself. The octave, the fifth and the third are already present as natural consequences of vibration. Musicians did not invent these relationships. They discovered them. When they began combining notes into chords they were, in a sense, making audible, possibilities already hiding within the sound.

Here the story became complicated. For all our talk of notes, scales and chords, nobody has yet produced a single explanation of why music moves us. The acoustician points to the harmonic series. The theorist points to the behaviour of chords within a key. The psychologist points to expectation, memory and emotion. All three are probably right, and all three deserve more attention than I could give them in a single article. Part Eight was less a conclusion than the opening of a door I expect to revisit more than once.

From there the journey became increasingly human. The seven degrees of the diatonic scale ceased to be mere positions and became behaviours. Some felt like home. Some invited movement. Some created brightness. Others carried shadow, tension or longing. What began as acoustics became psychology. We were no longer asking what sound is, but what it feels like to be a listener.

And finally we arrived at pitch itself. Modern musicians assume that A is 440 Hz because that is simply what A is. History suggests otherwise. For most of Western music’s existence there was no universal pitch standard. Notes wandered from city to city and generation to generation. Only through an extraordinary process of standardisation did we arrive at the world inhabited by modern guitars, pianos, orchestras and electronic tuners.

Even then, compromise remained. Equal temperament is a compromise. A440 is a compromise. The tuner in your pocket is enforcing a policy decision rather than revealing an eternal truth. Which brings us back to the question that has quietly accompanied every article in the series.

What exactly is music?

I wrote those first ten parts to suggest a simple answer. Music is neither arbitrary nor purely cultural.

It is not arbitrary because it emerges from physical realities that exist whether we recognise them or not: vibration, frequency, resonance, the octave, the harmonic relationships hidden inside sound itself.

Nor is it purely natural. The chromatic scale, note names, accidentals, modes, harmony, notation, pitch standards and instruments are all human attempts to organise, standardise and communicate those physical relationships. Every time I sweet-tune my guitar, I am participating in that long conversation between physics, culture and human judgement.

Nature provides the raw materials. Culture provides the architecture. The story of music is the story of the conversation between the two. The octave asked the question. The rest of music is our attempt to answer it.

Further Reading This essay reflects on the first ten articles in The Story of Music. Readers who would like to explore the journey can begin here:

Part 1: The Octave – Enigma https://go.dm.ie/the-octave Full Index: https://go.dm.ie/the-story-of-music

 
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from Ernest Ortiz Writes Now

An excerpt from The Package (Novelette 1)

Another pack of instant ramen noodles with imitation eggs and sausages for lunch today. Need someone to install ransomware on a criminal’s holocomp? Bypass a Top Secret Station Security access? Divert gold coin mail transactions from Sol Mafia? I’m your guy, Malcolm Diego. However, business is slow despite being an awesome cyberjacker, and my savings are dwindling.

Unity Station Security cracks down big time on its War on Hacking. I take a couple days off when security arrests the majority of the cyberjacker network. The mediocre skilled are in jail and the best are floating outside the station without a spacesuit or turn into protein packs.

The good news, I’m still alive and have a month of savings. The bad news, Station Security is eyeing my every move. It’s only a matter of time before Chief Mascow comes up with some dumb excuse to arrest me. I guess I can find a corporate job until the heat dies. Nothing wrong trying to be legit.

I activate my armcomp to update my resume and search for any job openings. With some embellishments, I put in enough experience to wow the HR departments, despite my criminal history. Maybe I can also add “Bypassed security encryption to obtain $250,000 from the Bank of Unity.” Or, “Collected and analyzed AIFutCom President and CEO’s sexual history” in my Accomplishments section.

LunaStar might be hiring, but Moon Police are still looking for me as a person of interest in a price-gouging scheme after a colony accident. Apparently, trading oxygen and food one cent higher than the “fair price” is illegal. How about MarsSAM? No, wait. The CFO’s daughter thinks I impregnated her. I didn’t even talk to much less touch her, I swear. Maybe one of the Asteroid Belt colonies? They always need a good holocomp tech.

However, a trip to the Belt is about four to six months, including turnover, and no one has invented faster-than-light travel yet. I worked as a holocomp maintenance tech on a Luna-Mars-Luna transport a few times. But you’re packed in those tiny living quarters like sardines and there’s only so much you can do to pass the time before you start acting like an asylum patient. But I need the moolah, so I’ll take any job available.

The Spacers Guild currently has plenty of ships heading for the Belt. I cross-check ship and colony job listings. The transport ship Hella Awesome needs a part-time holocomm/holocomp tech and offers the standard pay and benefits. Typhod Station desperately needs holocomp techs, and the pay is five times the current market rate.

Typhod Holo Services gives me the job after eighteen minutes of radio sending/receiving. Hella Awesome accepts my application after seven minutes, and it departs at 1800 at Terminal Nineteen. I slurp my last ramen noodle. Time to pack.

My duffle bag includes an EVA skinsuit and helmet, two spares of civvies, work jumpsuit, and a toothbrush. I transfer all my Bank of Unity savings to my CryptoCoin wallet stored in my brain implant. Goodbye Unity. Now the hard part is leaving without being hassled by Station Security or bad guys with a grudge. I program the station’s computer to close my housing and utilities accounts the second Hella Awesome departs.

Station time is 1213. Plenty of people to hide behind during lunch break traffic. I’m hoping the baseball cap obscures me from the facial recognition surveillance software. I walk behind the big and tall (which is most people), slip past shoulders, and don’t make any eye contact. Employees from a clothing store and ramen restaurant curse at me while I’m exiting through their back doors.

But that isn’t enough. My shirt tightens and my lungs restrict. A bear-like figure spins me around. He towers over me and a growl rumbles from his diaphragm.

“Shut up and don’t move.”

I comply, and the familiar assailant puts himself between me and my escape to Central Docking Bay and Terminal Nineteen. In my most polite voice, I greet the man with the security badge.

“Hello, Chief Mascow.”

Chief Warrant Officer Emery Mascow snorts.

“You didn’t think you could leave this station without me knowing, did you?”

I smile, knowing Mascow can throw my ass in jail for any reason.

“No, of course not. Nothing gets by you, Chief.”

Passersby ignore us and keep on walking while Chief Mascow shoves me against the wall. He pokes his cigar-shaped finger at my chest.

“For years, I’ve wanted nothing more than to see you rot in prison or spaced towards Earth’s atmosphere. But I guess I’ll have to settle with you leaving this station forever. I don’t care where you’re going. Actually, I do. So I can warn the poor sucker that has to watch you. You better not come back or else. You hear me?”

My chest hurts but a few words escape from my lungs.

“Crystal clear, Chief.”

Chief Mascow spins me and hurls me back into the crowd. I walk and don’t look back. Going to miss that big lug.

Get The Package, with both EPUB and PDF, on Gumroad for $3. Foul Run and Sovereign are also available.

#adventure #gumroad #epub #novelette #PDF #sciencefiction #scifi

 
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from EpicMind

Abel de Pujol: La clémence de César

Die meisten Menschen wünschen sich ein glückliches Leben. Doch worin besteht Glück eigentlich? Für die einen bedeutet es Gesundheit, für andere beruflichen Erfolg, finanzielle Sicherheit oder erfüllte Beziehungen. Die moderne Ratgeberliteratur empfiehlt Achtsamkeit, Dankbarkeit oder positive Gewohnheiten. Hinter all diesen Ansätzen steht mehrheitlich dieselbe Annahme: Glück sei ein Zustand, den wir erreichen oder bewahren können.

Marcus Tullius Cicero hätte dieser Vorstellung vermutlich widersprochen. Nicht weil er Glück für unwichtig hielt, sondern weil er glaubte, dass wir es an der falschen Stelle suchen. Wer sein Leben darauf ausrichtet, glücklich zu werden, läuft Gefahr, den Blick auf das Wesentliche zu verlieren. Entscheidend sei nicht, wie wir uns fühlen, sondern wer wir sind. Glück entsteht nicht dadurch, dass wir ihm nachjagen, sondern als Folge eines tugendhaften Lebens. Bezeichnend dafür: Ciceros bekanntestes philosophisches Werk trägt nicht den Titel Über das glückliche Leben, sondern De officiisVon den Pflichten. Verantwortung, Gerechtigkeit, Gemeinsinn, moralisches Handeln – das klingt eher nach einem Handbuch für Staatsmänner als nach einer Anleitung zu einem erfüllten Leben.

Und doch, liest man das Werk heute mit etwas Abstand zu seinem historischen Entstehungskontext, tritt darin eine Botschaft hervor, die genau diesen Anschein widerlegt: Ein gutes Leben beginnt nicht mit der Frage, was uns glücklich macht. Es beginnt mit der Frage, was einen guten Menschen auszeichnet.

Ein Philosoph in einer Zeit des Umbruchs

Cicero verfasste De officiis im Herbst des Jahres 44 v. Chr., als sich die Römische Republik in ihrer schwersten Krise befand. Caesar war ermordet worden, die politischen Machtkämpfe eskalierten erneut. Auch Cicero selbst sollte ihnen zum Opfer fallen: Nur wenige Wochen nach Abschluss des Werkes wurde er auf Befehl des zweiten Triumvirats ermordet.

Das Buch entstand also nicht in einer Phase philosophischer Musse, sondern unter dem Eindruck eines Staates, dessen moralische Grundlagen zu zerbrechen drohten. Es ist ein Brief an seinen Sohn Marcus, der damals in Athen studierte. Cicero wollte ihm keine theoretische Philosophie vermitteln, sondern Orientierung für ein verantwortungsvolles Leben. Er greift dabei zahlreiche Gedanken der griechischen Stoa auf, entwickelt sie aber eigenständig weiter und verbindet sie mit seiner Erfahrung als Politiker, Redner und Staatsmann. Im Mittelpunkt steht nicht der Weise, der sich aus der Welt zurückzieht, sondern der Mensch, der mitten im gesellschaftlichen Leben Verantwortung übernimmt.

Der Irrtum unserer Zeit

Wer heute nach Ratschlägen für ein glückliches Leben sucht, findet unzählige Bücher, Podcasts und Videos. Viele davon versprechen mehr Gelassenheit, höhere Produktivität oder grössere Zufriedenheit. Dagegen ist grundsätzlich nichts einzuwenden. Problematisch wird es erst, wenn Glück selbst zum eigentlichen Ziel wird.

Cicero würde diesen Gedanken umkehren. Nicht das Glück sollte unser Ziel sein, sondern die Tugend. Glück ist kein Besitz, den man erwerben kann, sondern die natürliche Folge eines gut geführten Lebens. Schon zu Beginn des Werkes erklärt er, dass alles sittlich richtige Handeln letztlich aus vier Grundtugenden hervorgeht: Klugheit, Gerechtigkeit, Tapferkeit und Mässigung. Es sind keine vier voneinander getrennten Eigenschaften, sondern verschiedene Ausdrucksformen eines guten Charakters. Seine Definition der Klugheit fällt dabei aus dem Rahmen dessen, was man erwarten würde: Sie besteht nicht in Cleverness oder strategischem Geschick, sondern in der ernsthaften Suche nach Wahrheit. Cicero schreibt: [1]

„Alle Begierde nach Erkenntniß und Wissenschaft ist der menschlichen Natur eigenthümlich.“ (I. 4, 13)

Wissen besitzt für ihn keinen Selbstzweck. Erkenntnis soll dazu dienen, besser zu handeln; wer nur um des Wissens willen lernt, verfehlt dessen eigentlichen Zweck. Philosophie ist deshalb keine Flucht aus dem Alltag, sondern eine Vorbereitung auf verantwortliches Handeln.

Charakter entsteht durch Handeln

Der wichtigste Gedanke des ganzen Werkes lautet: Charakter ist nicht angeboren. Er entsteht durch das, was wir täglich tun. Deshalb interessiert sich Cicero weit weniger für grosse moralische Heldentaten als für die kleinen Entscheidungen des Alltags. Halte ich mein Wort? Begegne ich anderen gerecht? Handle ich aus Überzeugung oder bloss aus Eigennutz? Solche Fragen wirken unscheinbar. Sie formen langfristig den Menschen, den wir werden.

Besonders deutlich zeigt sich das in seiner Beschreibung der Gerechtigkeit. Ihr erster Grundsatz ist einfach:

„Der erste Grundsatz der Gerechtigkeit ist, dass Niemand einem Anderen Schaden zufüge.“ (I. 7, 20)

Der zweite besteht darin, gemeinschaftliche Güter zum Nutzen aller und persönliches Eigentum rechtmässig zu verwenden. Gerechtigkeit bedeutet für Cicero also weit mehr als die Einhaltung von Gesetzen. Sie beschreibt eine innere Haltung gegenüber den Mitmenschen. Ebenso scharf verurteilt er die Gleichgültigkeit gegenüber Unrecht. Nicht nur, wer selbst Schaden anrichtet, handelt ungerecht; auch wer Unrecht geschehen lässt, obwohl er es verhindern könnte, verletzt seine Pflicht gegenüber der Gemeinschaft. Verantwortung heisst also nicht nur, selbst korrekt zu handeln, sondern auch, dort einzuschreiten, wo offensichtliches Unrecht geschieht.

Glück folgt der Tugend

Cicero spricht kaum über Glück, weil sich die Frage für ihn in erster Linie gar nicht stellt. Ein Mensch kann äusserlich erfolgreich sein und dennoch kein gutes Leben führen. Er kann reich sein, angesehen oder mächtig und dabei seinen Charakter verlieren. Umgekehrt kann jemand Schwierigkeiten erleben und dennoch seine Würde bewahren, weil er sich nicht von seinen Grundsätzen entfernt. Glück wird dadurch zu einer Folge des Charakters, nicht zu dessen Voraussetzung.

Das widerspricht einer weit verbreiteten Annahme unserer Zeit, wonach wir zuerst erfolgreich, unabhängig oder zufrieden werden müssten, um anschliessend moralisch handeln zu können. Cicero dreht diese Reihenfolge um. Zuerst steht der Charakter. Alles andere folgt daraus, wenn auch nicht immer in Form äusseren Erfolgs. Ein erfülltes Leben hängt weniger davon ab, was wir besitzen oder erreichen, als davon, welche Art Mensch wir Tag für Tag werden.

Der scheinbare Gegensatz zwischen Moral und Nutzen

Wer sich im Alltag ehrlich verhält, erlebt gelegentlich, dass andere schneller ans Ziel kommen. Wer Rücksicht nimmt, verliert mitunter Zeit. Wer sich an Regeln hält, verzichtet vielleicht auf kurzfristige Vorteile. Es liegt nahe, daraus zu schliessen, Moral und persönlicher Nutzen stünden oft im Widerspruch. Genau dieser Frage widmet Cicero das zweite und dritte Buch von De officiis. Seine Antwort fällt eindeutig aus: Der Widerspruch ist nur scheinbar. Was wirklich nützlich ist, kann niemals unsittlich sein. Er schreibt:

„Nichts, was unsittlich ist, kann nützlich sein; und nichts, was sittlich ist, kann unnütz sein.“ (III. 17, 77)

Damit widerspricht Cicero einer Denkweise, die bis heute verbreitet ist. Allzu oft unterscheiden wir zwischen dem moralisch Richtigen und dem praktisch Sinnvollen, sprechen von „faulen Kompromissen“, „kleinen Notlügen“ oder davon, dass man im Berufsleben manchmal „eben realistisch“ sein müsse. Für Cicero ist das eine gefährliche Selbsttäuschung. Wer kurzfristigen Gewinn über seine Grundsätze stellt, erzielt vielleicht einen äusseren Vorteil. Er beschädigt aber zugleich das Wertvollste, was er besitzt: seinen eigenen Charakter. So erklärt sich auch, weshalb Cicero List und Täuschung so entschieden ablehnt. Ein Erfolg, der auf Unehrlichkeit beruht, ist in seinen Augen kein wirklicher Erfolg, denn jeder Gewinn, der den eigenen Charakter untergräbt, bedeutet letztlich einen Verlust.

Der Mensch lebt nicht für sich allein

Der Mensch sei von Natur aus kein Einzelgänger, schreibt Cicero. Wir entwickeln uns erst im Zusammenleben mit anderen. Bereits im ersten Buch heisst es:

„Nicht für uns allein sind wir geboren; unser Vaterland fordert einen Theil unseres Daseins, unsere Freunde einen andern.“ (I. 7, 22)

Dieser Satz gehört zu den bekanntesten Gedanken des ganzen Werkes, und das zu Recht: Er erinnert daran, dass ein gelungenes Leben immer auch Beziehungen umfasst. Familie, Freundschaften, Kolleginnen und Kollegen, das Gemeinwesen – all das sind keine Hindernisse persönlicher Freiheit, sondern Voraussetzungen dafür. Viele Vorstellungen vom Glück kreisen fast ausschliesslich um das eigene Wohlbefinden. Cicero verschiebt den Blickwinkel: Ein Mensch wird nicht glücklicher, indem er sich immer stärker um sich selbst dreht, sondern indem er Teil einer grösseren Gemeinschaft wird und Verantwortung übernimmt. Auch seine Auffassung von Wohltätigkeit passt in dieses Bild. Grosszügigkeit ist für ihn keine Gefühlsregung, sondern eine Tugend; allerdings eine, die weder wahllos noch zur Selbstdarstellung erfolgen soll, sondern mit Vernunft, Augenmass und echtem Nutzen für andere.

Erfolg ist vergänglich, Charakter bleibt

Wer De officiis liest, bemerkt schnell, dass Cicero Erfolg keineswegs gering schätzt. Als Staatsmann wusste er, wie wichtig Ansehen, Einfluss und Leistungsfähigkeit sein können. Er war kein weltfremder Asket. Aber er unterscheidet sorgfältig zwischen dem, was wir besitzen, und dem, was wir sind. Äusserer Erfolg hängt oft von Umständen ab, die wir nur begrenzt beeinflussen können. Gesundheit, Vermögen, gesellschaftliche Anerkennung – all das kann verloren gehen. Der eigene Charakter dagegen begleitet uns in jeder Lebenslage.

Darum überzeugen Ciceros Gedanken auch nach über zweitausend Jahren noch. Sie versprechen kein dauerhaftes Glücksgefühl und keine einfache Lebensformel. Sie richten den Blick auf etwas Beständigeres: die tägliche Arbeit am eigenen Charakter. Wir müssen nicht ständig fragen, ob wir gerade glücklich sind. Vielleicht genügt eine einfachere Frage: „Handle ich heute so, dass ich auch morgen noch mit mir selbst im Reinen sein kann?“ Auch die psychologische Forschung kommt zu ähnlichen Schlüssen. Menschen erleben langfristige Zufriedenheit häufig dort, wo sie Sinn erfahren, Verantwortung übernehmen und ihre Werte tatsächlich leben. Cicero hätte das vermutlich nicht überrascht. Für ihn war Glück nie das Ziel eines guten Lebens, sondern dessen natürliche Folge.

Drei Fragen zum Weiterdenken

Zum Schluss bleiben drei einfache Fragen, die Ciceros Überlegungen in den eigenen Alltag übertragen können:

  1. Welche meiner täglichen Entscheidungen stärken meinen Charakter – und welche schwächen ihn?
  2. Wo verwechsle ich kurzfristigen Vorteil mit langfristigem Nutzen?
  3. Würde ich dieselbe Entscheidung treffen, wenn ausschliesslich mein Gewissen darüber urteilen müsste?

Cicero schrieb De officiis in einer Zeit politischer Krisen und persönlicher Unsicherheit. Umso mehr überrascht die Gelassenheit seines Werkes. Statt Rezepte für Erfolg, Wohlstand oder Glück zu versprechen, richtet er den Blick auf etwas Dauerhafteres: den Charakter. Darin unterscheidet er sich grundlegend von vielen modernen Ratgebern zur Selbstoptimierung. Diese fragen meist, wie wir erfolgreicher, produktiver oder zufriedener werden. Cicero stellt eine andere Frage: Wie werden wir ein guter Mensch? Wer versucht, klug, gerecht, mutig und massvoll zu handeln, wird Rückschläge nicht vermeiden können. Aber er gewinnt etwas, das äussere Erfolge allein niemals schenken können: die Gewissheit, sich selbst treu geblieben zu sein.

Vielleicht ist genau das der Gedanke, den ein Mann kurz vor seinem eigenen Tod noch festhalten wollte. Glück lässt sich nicht erzwingen, nicht planen und nicht dauerhaft festhalten. Wer es unmittelbar sucht, läuft Gefahr, ihm ständig hinterherzulaufen. Wer dagegen seinen Charakter bildet und das Richtige tut, entdeckt oft, dass Glück kein Ziel ist, das erreicht werden muss, sondern eine Folge eines gut gelebten Lebens.


💬 Kommentieren (nur für write.as-Accounts)


Anmerkung [1] Alle Zitate werden in der Übersetzung von Raphael Kühner, 1873, Cicero's drei Bücher von den Pflichten, zweite verbesserte Auflage, Hoffmann'sche Verlags-Buchhandlung, Stuttgart, unverändert wiedergegeben: https://projekt-gutenberg.org/authors/marcus-tullius-cicero/books/ciceros-drei-buecher-von-den-pflichten/

Bildquelle Alexandre Abel de Pujol (1785–1861): La clémence de César (Cicero verteidigt Q. Ligarius vor Caesar), Musée des Beaux-Arts, Valenciennes, Public Domain.

Disclaimer Teile dieses Texts wurden mit Deepl Write (Korrektorat und Lektorat) überarbeitet. Für die Recherche in den erwähnten Werken/Quellen und in meinen Notizen wurde NotebookLM von Google verwendet.

Topic #Philosophie | #ProductivityPorn

 
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from Ennui Vagaries

Photo by [Millenary Watches](https://unsplash.com/@millenarywatches) on [Unsplash](https://unsplash.com/photos/a-close-up-of-a-person-wearing-a-watch-WSKuvpbnN0E) Photo by Millenary Watches on Unsplash

In Rejecting the Luxury of Hobbies I talked about the “investor” types of people. The people that seem to feel that participating in a hobby based around collecting should not affect their bottom line. Well, here we are, just a couple of days later, and one of these “collectors” just showed up in my YouTube with his latest video: Affordable Watches Lose You Money. Here's Why.

It didn't take long for me to understand the premise he was going with. He starts off talking about a Citizen Tsuyosa, a Seiko 5 SRPD55, and a Hamilton Khaki Field Mechanical he purchased secondhand for approximately half of the price the original owners paid for them. He goes on to claim that losing money on resale of a watch is the “cost of ownership”. (Not really, it's something different, as I'll talk about in a minute.) And he states that it happens to all classes of watches, but it “hurts more” for “affordable” watches.

Why does this happen? He claims that it's because of branding. Most brands like Seiko, Citizen and Hamilton haven't built up the “awareness” of Rolex and Omega. Add to that the challenge to Seiko, Citizen, Hamilton, etc. from micro brands that offer better products at the same price points. But the micro brands have the same issue: brand recognition.

What are the solutions? Well, the first is to always by second hand and avoid the loss. The other is to only buy what you like, and will not want to sell.

Well no sh*t Sherlock.

But, he has fundamentally misrepresented the underpinnings of how markets actually work in capitalism. In the fair market there is the concept of depreciation (borrowed from Wikipedia):

In accountancy, depreciation is an actual reduction in the fair value of an asset, such as the decrease in value of factory equipment each year as it is used and wears.

For many things we purchase the depreciation occurs the moment the item is taken out of its box and any wrapping removed. Why? Because it is no longer a new item, it is now a used item. And, once an item is deemed as used it cannot be sold as a new item, and therefore must be sold on the secondary market.

This concept of depreciation happens with nearly all the “things” we purchase: cars, computers, cell phones, bicycles, and many other items. They are seen as assets, and assets have a value that decreases over time. (The rare exception to this being realty, in which there are other market forces at play which can affect the value of the asset.)

The secondary market is typically made up of several groups of people:

  • The main portion of the market is people who are deal hunters. They are looking to take advantage of the depreciation of the items that are being sold.
  • There is a smaller portion of the secondary market that are collectors. These are people that are more interested in the items on offer for their significance. These items hold significant personal, non-monetary value, that is completely separate from the financial operation of the market.
  • The final people are the investors. They are specifically focused on attaining items that have a perceived value that overrides its depreciation. This is where Rolex, Breguet, F. P. Journe, and other luxury brands fit into the market.

Looking at any item you want to collect as an investment is tremendously stupid. While it may be apparent that you can make money by investing in a Rolex, even that is at the whim of the secondary market. The specific reference you have “invested” in may fall out of favor with the market. There are no guarantees. Looking at any item that is “collectible” as an investment is no better than putting your money in the stock market. And, with the stock market, you have a better chance at getting a return on your investment if you work with an advisor.

So, the video is correct: buy what you like and will keep. Buy on the secondary market to get a deal. Or, buy the items that hold significant, non-monetary, value to you. But most importantly: don't look at purchasing any asset as an investment. And, all collectibles are assets that depreciate over time.

This is why I get annoyed with these “influencers”. Instead of explaining the facts of how markets and depreciation work we get a song and dance about “brand recognition”. That basic marketing junk that really doesn't mean anything to the market. The market is going to do what it does, regardless of the name on the dial. If there is no other lesson to be learned from the Wall Street Bets Subreddit, it is: markets are not rational, and cannot be relied on to act consistently or rationally.


Categories: #Collecting Tags: #watches, #markets, #depreciation, #value, #assets, #new, #used, #secondary, #market, #fair License: Copyright Unattributed. Licensed under Creative Commons BY-NC-SA 4.0.

 
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from What Inspired Me

Introduction

Percussion is used widely across folk and popular musics around the world. The kakko of Japanese gagaku, the drum ensembles of the Ewe people in West Africa, the frame drums of the Middle East, and — as we'll see later — jazz and rock. In many cultures, drums and percussive instruments have carried the very skeleton of the music.

And yet, in the Western classical tradition, percussion has remained almost entirely confined to the timpani — an instrument whose role is essentially supporting, reinforcing harmony rather than driving it. Western music, freed from the church and expected to hold paying audiences spellbound in the new venue of the public concert, never made pulse-driven rhythm its protagonist. Percussion instruments certainly did reach Europe. So why did they never sit at the center of the Western art-music canon?

Digging into this question, there's no single answer. At least four distinct historical layers, each with its own logic, are stacked on top of one another.

Layer One: Theological Suspicion of the Body

Remarkably, Europe's wariness toward pulsing, bodily rhythm was already firmly established well before any contact with the Ottoman Empire or Moorish Spain — as early as the fourth and fifth centuries, in the writings of the Church Fathers. In the Confessions, Augustine confesses his own conflicted anguish over the sheer sensory pleasure he took in hearing sacred chant. The Church Fathers dismissed instrumental music in general as a “Judaizing” concession, and Thomas Aquinas later summarized this position by stating that the Church does not use instruments in praising God, lest it appear to be falling back into “Jewish ways.”

What was being excluded here was not the instrument of any particular ethnic group. Rhythm that moves the body was tied to sensory pleasure and pagan ritual (the cult of Dionysus, for instance) and ranked below rational, spiritual music — vocal music, chant without pulse. It's no coincidence that the theoretical foundation of Western music has, since the Middle Ages, been built consistently around relationships of pitch — mode, harmony, counterpoint, tonality. Unpitched percussion was never given a place of meaning within the grammar of this compositional language to begin with.

Importantly, this hierarchy never fully suppressed European folk culture. Tarantism in southern Italy — a trance-inducing healing ritual built around frenzied, drum-driven dance — was documented well into the twentieth century, and the adufe, a type of frame drum, survived as a women's tradition in the folk music of Portugal and Galicia. So, more precisely: Europe didn't lack an ecstatic, percussion-driven culture. Rather, the institutions above it — church and court — consistently pushed it to the margins.

Layer Two: Marginalization by Class and Gender

Throughout the Middle Ages, the tabor (as in “pipe and tabor”) was the instrument of itinerant entertainers and jesters, while the frame drum, going back to temple ritual in ancient Mesopotamia, was consistently coded as “an instrument women play.” These instruments certainly persisted — but always as markers tied to a particular class, a particular gender, and were never promoted to the status of structural material for composers to work with. They reached Europe, but they were never internalized.

Layer Three: A New Layer — Orientalism

As contact with the Ottoman Empire intensified in the sixteenth through eighteenth centuries, ethnic othering was layered onto this existing hierarchy. The drums, cymbals, and triangle of the Janissary military band became fashionable in Europe as “Turkish style” (alla turca), leaving traces in Mozart's Die Entführung aus dem Serail and Haydn's Symphony No. 100, “Military.” But this was no more than a surface-level borrowing of “exotic” signifiers — the drum was never integrated into the structural skeleton of Western music.

In other words: the foundation was a theological value judgment, which was then institutionalized as a structural norm — that pitch-centered writing was the only legitimate musical language — onto which ethnic othering was later superimposed. It makes the most sense to see “a problem of musical structure” and “a gaze of ethnocentrism” not as two separate causes, but as the same underlying hierarchy of values expressed in different forms at different moments in history.

The Turning Point: The Twentieth Century's Liberation from Within

This structure first began to crack from the inside in the early-twentieth-century avant-garde. Edgard Varèse's Ionisation (1931) was, as far as we know, the first Western concert work written for an ensemble of entirely unpitched percussion. Bartók, and then a series of percussion works by John Cage, followed.

But the real turning point came with minimalism. In 1970, Steve Reich actually traveled to Ghana, where he took daily lessons in drumming from Ewe master drummers at the University of Ghana, Legon. Drumming (1971), which grew out of that experience, transplants directly into the skeleton of Western compositional language the structural principle of Ewe drum ensembles: multiple patterns sounding simultaneously, their downbeats deliberately never coinciding. This is categorically different from eighteenth-century “Turkish style.” Where that was a surface borrowing, Reich actually acquired the technique and internalized its underlying principle.

That said, even this “learning and integration” hasn't escaped criticism — the argument that it amounts to a more sophisticated form of appropriation, in which a Western composer extracts a non-Western tradition and folds it into his own authoritative artistic language. The asymmetry by which Reich's reception in the West didn't necessarily translate into recognition or standing for the Ghanaian musicians who taught him remains a lingering shadow within this long history.

Why Did It “Internationalize” in the Twentieth Century?

Another important question arises here. Why did jazz, rock, and minimalism manage to achieve a genuinely global reach in the twentieth century, carrying percussive vocabulary with them?

One hypothesis holds that the link between percussion and ecstatic, religious trance is a near-universal phenomenon found across many of the world's cultures, and that this drove the internationalization. The classic study of the relationship between music and trance, Gilbert Rouget's Music and Trance, puts a careful check on part of this hypothesis. Having surveyed a worldwide body of ethnographic material, Rouget rejects, as pseudoscience, the popular theory that drumming rhythms directly and neurophysiologically induce religious ecstasy (trance), concluding that what trance means, and when it occurs, varies enormously by cultural system of meaning.

But this doesn't mean every response to rhythm is purely a cultural construct. Below the level of religious ecstasy, there's a more basic phenomenon: entrainment, the synchronization of brain activity and bodily movement to a steady external pulse. Research shows that the brains of eight-month-old infants already entrain to musical rhythm, and “beat induction” — the capacity to actively perceive a pulse in an auditory stimulus — is widely reported as a foundational, broadly shared feature of human music cognition. Among animals, this ability is strikingly rare, which makes it reasonable to treat it as a near-universal physiological substrate of our species.

So, to be precise: the strong claim that “drumming carries a universal power to induce religious ecstasy” is hard to support. But the weaker claim that “the human body has a basic physiological tendency to entrain to a beat” has real grounding. This distinction matters for the comparison with architecture that follows.

What has stronger empirical grounding is a far more mundane and concrete set of political and economic mechanisms.

As for jazz's own origins: its percussive core owes less to “the collective will of multiethnic America” than to the specific colonial legal quirks of Congo Square in New Orleans. Under French and Spanish colonial custom, enslaved people were granted Sundays off, and West African drumming rhythms were passed down there without being outlawed — a site of cultural resistance under oppression.

As for its international spread: there was a deliberate Cold War cultural diplomacy policy, beginning in 1956, in the form of the U.S. State Department's “Jazz Ambassadors” program — sending figures like Dizzy Gillespie and Louis Armstrong around the world to counter Soviet anti-American propaganda. Voice of America radio broadcasts underpinned the effort.

A Comparison with Architecture: A Single Style, or Fusion Through a Hub?

It's worth drawing one more line of comparison here. Another, quite different kind of “internationalization” happened in the twentieth century: modernist architecture in glass and reinforced concrete. The idiom of Le Corbusier and Mies van der Rohe redrew the skyline of cities from Chandigarh, India, to the new downtowns of Southeast Asia.

But this architectural internationalization can't be explained by exactly the same mechanism as music's. There's a decisive difference between the two.

In architecture, what spread across the world was a single, uniform style. Glass and concrete could be assembled the same way regardless of climate, cultural background, or whatever traditional building style already existed on a given site. The physical material itself carries no “content” to fuse with local tradition. That's precisely why modernist architecture replaced local skylines with essentially the same shape — the glass box — wherever it landed. Internationalization here meant homogenization, replacement.

Music is different. As the previous section suggested, entrainment — the basic physiological tendency to synchronize with a beat — appears to be a fairly universal human trait. But when this “universal engine” was exported from the United States, the century's great hub of international exchange, it didn't replace local traditions with a uniform shape the way architecture did. Instead, it fused with local musical traditions everywhere it went, branching into different forms in different places. Jazz crossed into France and became Django Reinhardt's gypsy swing; it fused with Cuban rhythm to become Afro-Cuban jazz; in Japan it produced the distinctive culture of the jazz kissa. Minimalism followed the same pattern — Reich absorbed the structure of Ewe drumming from Ghana, Glass drew on the cyclical rhythms of Indian tala, and the composers who followed fused the idiom further with their own local musical vocabularies. Rock's countless local variants worldwide likely reflect the same structure.

So where modernist architecture was a case of “a single form blanketing the world,” twentieth-century American music was a case of “a single universal driving force — the physiological tendency to entrain to rhythm — passing through a hub nation and fusing with local traditions into countless different shapes.” Homogenization versus diversification: this difference, I think, is exactly what separates architecture's internationalization from music's. The fact that minimalism, jazz, and rock each branched into utterly different musics in different parts of the world, while still sharing “the same engine” underneath, points to a kind of universality specific to music — one that a single spreading style, of the kind we see in architecture, simply can't account for.

Why Didn't It Spread During the Colonial Era?

A contrasting fact emerges here. European classical music, despite centuries of colonial contact, almost never took root as a local culture in the places Europe colonized. The opera houses the French built in Hanoi, Saigon, and Haiphong in French Indochina were, scholars note, met with local indifference, and ended up “making the distance separating the colony from metropolitan France even more apparent” rather than bridging it. The opera house in Manaus, Brazil, was likewise an enclave for settlers alone, built on the exploitation of Indigenous labor. Audiences were nearly always confined to a colonial elite fluent in French or versed in Western manners, and the music never made contact with local musical traditions.

What this contrast reveals is that cultural transmission can't be explained by the appeal of the music alone. Colonialism as a system was designed to maintain a permanent hierarchical difference between colonizer and colonized; it had no structural will to share culture on equal terms. Jazz, by contrast, became an international common language in the twentieth century precisely because Cold War politics required newly decolonized nations to be won over as equal allies — and because, on the receiving end, people made an active choice to embrace it.

Conclusion

The history of percussion's exclusion from classical music cannot be reduced to a single cause. Theological suspicion of the body, marginalization by class and gender, and ethnic othering — several distinct logics of exclusion happened to point in the same direction, layering on top of one another to shape the norms we inherit today as “classical music.” And when that norm finally began to crack from within, it wasn't through some passing aesthetic whim, but through the concrete practice of composers who actually traveled to non-Western traditions and approached them as equal students.

Beyond that lies the twentieth century itself. A fairly universal human tendency — entrainment to a beat — genuinely exists, and when it was exported around the world by way of the United States, that century's great hub of international exchange, it didn't replace local traditions with a uniform shape the way modernist architecture did. Instead, it fused with musical traditions everywhere it landed, branching into countless different musics. The fact that jazz, rock, and minimalism each took on utterly different shapes in different parts of the world, while still sharing the same underlying drive, is itself the story of this particular kind of universality. It wasn't a single style blanketing the world — it was one universal engine opening outward into diversity, through countless encounters with local traditions.

To love Western classical music while also staying aware that it is the product of this history of exclusion — these two things are not in contradiction. The tension Tōru Takemitsu spent a lifetime working through in November Steps — the recognition that Eastern and Western musical traditions shouldn't be forced into harmony, but held side by side while preserving their differences — was, perhaps, one honest way of answering to this long history.

 
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from What Inspired Me

はじめに

打楽器の使用は、世界中の民族音楽や大衆音楽に広く見られる。日本の雅楽の鞨鼓、西アフリカのエウェの太鼓アンサンブル、中東のフレームドラム、そして後述するジャズやロック。多くの文化圏で、太鼓や打楽器的なものは音楽の骨格そのものを担ってきた。

それにもかかわらず、西洋クラシック音楽の伝統においては、打楽器はティンパニという、あくまで和声を補強する脇役的な楽器の使用にほぼ限定され続けてきた。教会音楽から解放され、公開演奏会という商業的な場で聴衆を熱狂させることを求められたはずの西洋音楽は、なぜ最後まで拍動的なリズムを主役に据えなかったのか。ヨーロッパにも打楽器は確かに伝わっていた。ではなぜ、西洋芸術音楽の「正史」の中で、それらは一度も中心に座らなかったのか。

この問いを掘り下げていくと、単一の答えには行き着かない。そこには少なくとも四つの異なる時代の、異なる論理が積み重なっている。

第一層:身体への神学的不信

驚くべきことに、ヨーロッパが楽器の拍動的なリズムを警戒する態度は、オスマン帝国やムーア人との接触よりはるか以前、4〜5世紀の教父たちの時代にすでに確立していた。アウグスティヌスは『告白録』の中で、聖歌を聴く際の感覚的な快楽そのものに強い葛藤を抱いていたことを告白している。教父たちは楽器音楽全般を「ユダヤ教的な譲歩」と見なして退け、トマス・アクィナスも後年これを要約して、教会が神の讃美に楽器を用いないのは「ユダヤ教のやり方に逆戻りしたと見られないため」だと述べた。

ここで排除の対象になっていたのは、特定の民族の楽器ではない。身体を突き動かすリズムそのものが、感覚的快楽・異教の儀礼(ディオニュソス崇拝など)と結びつけられ、理性的・霊的な音楽——声楽、非拍動的な詠唱——よりも劣ったものとして位置づけられた。西洋音楽の理論的基盤が、中世以来一貫して音高の関係性(旋法、和声、対位法、調性)によって組み立てられてきたのは、この神学的な価値序列と無関係ではない。無音高の打楽器は、この作曲言語の文法の中に、そもそも意味を持たせる場所を与えられていなかったのである。

重要なのは、この序列がヨーロッパの民衆文化を完全に制圧したわけではなかったという点だ。南イタリアのタランティズモ(トランス状態を伴う治療儀礼としての激しい太鼓の踊り)は20世紀まで記録され続けたし、フレームドラムの一種であるアドゥフェはポルトガルやガリシアの民俗音楽の中に、女性たちの伝統として生き延びた。つまり正確に言えば、ヨーロッパは「陶酔的な打楽器文化を持たなかった」のではなく、教会・宮廷という上層の制度が、それを一貫して周縁化し続けたのである。

第二層:身分とジェンダーによる周縁化

中世を通じて、タボール(パイプ・アンド・タボール)は旅の大道芸人や道化師の楽器として、フレームドラムは古代メソポタミアの神殿儀礼の時代から一貫して「女性が演奏する楽器」として位置づけられてきた。これらの楽器は確かに存在し続けたが、常に特定の身分・特定の性別に紐づけられたマーカーとして扱われ、「作曲家が構造的な素材として扱う対象」へと格上げされることは一度もなかった。伝わってはいたが、内部化はされなかったのである。

第三層:オリエンタリズムという新しい層

16〜18世紀、オスマン帝国との接触が本格化すると、この既存の序列に民族的な他者化が重なる。イェニチェリ軍楽隊の太鼓・シンバル・トライアングルは「トルコ趣味(アラ・トゥルカ)」としてヨーロッパの流行になり、モーツァルトの『後宮からの誘拐』やハイドンの交響曲第100番「軍隊」にその痕跡を残した。しかしこれはあくまで「異国情緒の記号」としての表面的な借用であり、太鼓が西洋音楽の構造的な骨格として統合されることはなかった。

つまり土台にあったのは神学的な価値判断であり、それが「音高中心の書法こそが正当な音楽言語だ」という構造的な規範として制度化され、後の時代に民族的な他者化が重ね書きされていった。「音楽的構造の問題」と「エスノセントリズムの視線」は別々の原因ではなく、同じ一つの価値序列が異なる時代に異なる形で表現されたものだと考えるのが、もっとも筋が通る。

転換点:20世紀、西洋音楽の内側からの解放

この構造が初めて内側から崩れ始めるのは、20世紀前半の前衛においてである。エドガー・ヴァレーズの『イオニザシオン』(1931年)は、西洋の演奏会用作品として初めて、無音高打楽器のみによるアンサンブルのために書かれた。バルトーク、そしてジョン・ケージの一連の打楽器作品がこれに続く。

しかし本当の意味での転換は、ミニマル・ミュージックによってもたらされた。スティーヴ・ライヒは1970年、実際にガーナに渡航し、アクラ大学でエウェ族の巨匠奏者から直接ドラミングの指導を受けた。この経験から生まれた『ドラミング』(1971年)は、「複数のパターンが同時に鳴りながら、それぞれの拍頭が一致しない」というエウェの太鼓アンサンブルの構造原理を、そのまま西洋の作曲言語の骨格として移植したものである。これは18世紀の「トルコ趣味」とは決定的に異なる。あれが表面的な借用だったのに対し、ライヒは実際に技術を習得し、その原理を内面化した。

もっとも、この「学習と統合」自体にも批判はある。西洋の作曲家が非西洋の伝統を抽出し、自らの権威ある芸術的言語に組み込む、洗練された形の専有ではないかという指摘である。ライヒの受容のされ方が、彼が学んだガーナの奏者たち自身の評価向上に必ずしもつながらなかった、という非対称性は、この長い歴史の中になお残る影である。

なぜ20世紀に「国際化」しえたのか

ここでもう一つ重要な問いが浮かぶ。なぜジャズやロック、そしてミニマル・ミュージックは、20世紀に打楽器的な語法を伴って世界的な広がりを持ちえたのか。

一つの仮説として、「打楽器と陶酔・宗教的恍惚の結びつきは、世界の多くの文化に共通する普遍的な現象であり、それがこの国際化を後押しした」という考え方がある。音楽と憑依・トランスの関係を扱った古典的研究、ジルベール・ルジェの『音楽とトランス』は、この仮説の一部に慎重な留保を突きつける。ルジェは世界中の民族誌資料を横断的に検証した上で、「太鼓のリズムが宗教的恍惚(トランス)を神経生理学的に直接引き起こす」という通俗的な理論を疑似科学として退け、トランスが何を意味し、いつ起こるかは文化的な意味体系ごとに大きく異なると結論づけている。

ただしこれは、リズムそのものへの反応がすべて文化的な構築物にすぎない、という意味ではない。トランスという宗教的恍惚のレベルとは別に、もっと基礎的なエンテインメント(拍への同調)という現象がある。一定のパルスを耳にすると、脳波や身体の動きが自然にそのパルスに同調する現象で、生後8ヶ月の乳児の脳がすでに音楽的リズムに同調することを示す研究や、聴覚刺激から拍を能動的に感じ取る「ビート・インダクション」の能力が、人間の音楽認知に広く共有された基盤的特性として報告されている。これは動物界でも極めて例外的な能力とされ、人類にほぼ普遍的な生理的基盤と言ってよいだろう。

つまり正確に言えば、「太鼓が宗教的恍惚を引き起こす普遍的な力を持つ」という強い主張は支持しにくいが、「人間の身体がビートに同調する基礎的な生理的傾向を持つ」という、もう一段階弱い主張には、かなりの根拠がある。この区別は、次の建築との比較を考える上で重要になる。

むしろ実証的な裏付けが強いのは、もっと世俗的で具体的な政治的・経済的回路である。

ジャズの起源そのものについて言えば、その打楽器的な核心は「多民族国家アメリカ全体の意志」というより、ニューオーリンズのコンゴ・スクエアという特殊な植民地法の産物だった。フランス・スペインの植民地法の慣習で奴隷に日曜の休息が与えられ、西アフリカ系の太鼓のリズムが禁じられることなく継承された、抑圧下の文化的抵抗の場である。

その国際的な拡散については、1956年から始まったアメリカ国務省の「ジャズ大使」プログラムという、明確な冷戦下の文化外交政策があった。ディジー・ガレスピーやルイ・アームストロングを世界中に派遣し、ソ連の対米プロパガンダに対抗する。ヴォイス・オブ・アメリカのラジオ放送がこれを支えた。

建築との比較:単一の様式か、拠点を経由した融合か

ここで一つ、補助線を引いておきたい。20世紀にはもう一つ、まったく別の分野で似たような「国際化」が起きている。ガラスと鉄骨コンクリートによるモダニズム建築である。ル・コルビュジエやミース・ファン・デル・ローエの様式は、インドのチャンディーガルから東南アジアの新都心まで、世界中の都市景観を塗り替えた。

しかしこの建築の国際化と、音楽の国際化を、まったく同じメカニズムとして説明することはできない。両者の間には決定的な違いがある。

建築の場合、世界中に広まったのは単一の、均質な様式だった。ガラスとコンクリートは、気候が違おうと、文化的背景が違おうと、その土地にどんな伝統的建築様式があろうと関係なく、同じ工法で組み立てられる。この物理的な素材そのものには、現地の伝統と融合すべき「内容」がない。だからこそ、モダニズム建築はどこへ行っても基本的に同じ形——ガラスの箱——として現地の景観を置き換えた。均質化・置換としての国際化である。

音楽の場合は違う。前章で見た通り、ビートへの同調(エンテインメント)という基礎的な生理的傾向は、人類にかなり普遍的に備わっていると考えられる。しかしこの「普遍的なエンジン」がアメリカという20世紀の国際交流の拠点から世界各地に輸出されたとき、それは建築のように現地の伝統を均質な形に置き換えたのではなく、各地の民族音楽的伝統と融合し、その土地ごとに異なる形へと分岐していった。ジャズはフランスに渡ってジャンゴ・ラインハルトのジプシー・スウィングになり、キューバのリズムと結びついてアフロ・キューバン・ジャズになり、日本ではジャズ喫茶という独自の受容文化を生んだ。ミニマル・ミュージックも同様で、ライヒはガーナのエウェの太鼓の構造を、グラスはインドのターラの周期リズムをそれぞれ取り込み、後続の作曲家たちはそれぞれの土地の音楽的語彙とさらに融合させていった。ロックが世界中で無数のローカルな変種を生み出したのも同じ構造だろう。

つまりモダニズム建築が「単一の形式が世界を覆った」現象だったのに対し、20世紀のアメリカ発の音楽は「一つの普遍的な駆動力(リズムへの同調という生理的傾向)が、拠点となる国家を経由しながら、各地の伝統と無数の異なる形に融合していった」現象だったと言える。均質化と多様化、この違いこそが、建築と音楽の国際化を分けている点ではないか。ミニマル・ミュージック、ジャズ、ロックがそれぞれ世界各地でまったく異なる姿の音楽へと分岐しながら、それでもなお「同じエンジン」を共有し続けていることこそ、建築のような単一様式の伝播では説明できない、音楽固有の普遍性のあり方を示しているのだと思う。

なぜ植民地時代には広まらなかったのか

ここで対照的な事実が浮かび上がる。ヨーロッパのクラシック音楽は、植民地支配という数百年に及ぶ接触の機会を持ちながら、現地の文化として根付くことはほとんどなかった。フランス領インドシナのハノイ・サイゴン・ハイフォンに建てられたオペラハウスは、現地住民の「無関心」に阻まれ、「植民地とフランス本国を隔てる距離をむしろ際立たせる」結果に終わったと研究者は指摘する。ブラジルのマナウス歌劇場も、先住民の労働搾取の上に築かれた入植者だけの飛び地だった。観客はフランス語や西洋の作法を解する植民地エリート層にほぼ限定され、現地の音楽的伝統とはついに接点を持たなかった。

この対比が示すのは、文化の伝播は音楽そのものの魅力だけでは説明できないということだ。植民地主義という制度は、支配者と被支配者の間の恒久的な階層的差異を維持することを目的としており、文化を対等に共有する意志を構造的に持っていなかった。一方、20世紀のジャズが国際的な共通言語になりえたのは、脱植民地化した新興国を対等な同盟国として獲得する必要があった冷戦下の政治状況、そして受け手側の能動的な選択が噛み合ったからである。

おわりに

クラシック音楽が打楽器を排除してきた歴史は、単一の原因に還元できない。神学的な身体嫌悪、身分とジェンダーによる周縁化、そして民族的な他者化——複数の異なる排除の論理が、たまたま同じ方向を向いて積み重なり、今日私たちが「クラシック音楽」として受け取る規範を形作った。そしてその規範が内側から崩れ始めたのも、単なる美的な気まぐれではなく、実際に非西洋の伝統に足を運び、対等な学び手として向き合った作曲家たちの、具体的な実践によってだった。

その先に、20世紀という時代がある。ビートへの同調という、人類にかなり普遍的な生理的傾向が確かに存在し、それがアメリカという国際交流の拠点国家を経由して世界中に輸出されたとき、モダニズム建築のように現地を均質な形へと置き換えるのではなく、各地の民族音楽的伝統と融合しながら、無数の異なる音楽へと分岐していった。ジャズ、ロック、ミニマル・ミュージックがそれぞれ世界各地でまったく異なる姿をとりながら、それでもなお同じ駆動力を共有し続けているという事実こそが、この普遍性のあり方を物語っている。それは単一の様式が世界を覆うのではなく、一つの普遍的なエンジンが、各地の伝統との無数の出会いを通じて、多様な形に開かれていく国際化だった。

西洋クラシックを愛好しながら、同時にそれがこうした排除の歴史の産物であることを自覚し続けること。この二つは矛盾するものではない。武満徹が生涯かけて『ノヴェンバー・ステップス』という作品の中に刻み込んだ緊張関係——東西の音楽的伝統は無理に調和させるべきではなく、違いを保持したまま並置すべきだという認識——は、この長い歴史を踏まえた上での、一つの誠実な応答の形だったのだろう。

 
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from 00692285

As a stay-at-home-dad (SAHD) I can’t help but feel that even today, even with the amount of SAHDs increasing, the world of daytime childcare just isn’t built for us. In the US, it’s still very much assumed that a child’s primary care taker is a woman. The SAHD is not uncommon, but it is still considered somewhat of an oddity. It still sometimes feels odd to me. Especially when I’m out about town. The world of day time childcare didn’t evolve to accommodate stay-at-home-dads.

The local library hosts a story time for children in the morning once a week. It’s very cute and attended mostly by mothers and their small babies. I’m usually the singular SAHD at the event. On one occasion I observed some of the moms break the ice with each other. Before long, they were trading stories about motherhood including particulars of breastfeeding and other peculiarities related to childcare. While I could relate to a lot of what they were talking about (minus the breastfeeding part), it didn’t feel right for me to join. Anyways, what is a man going to do in mother’s friend group anyway? It was an odd feeling of simultaneously feeling left out, but also having no desire to join.

On another occasion, I was sitting in the play area of the library when another baby approached me and my daughter. The baby waved hi to us and looked like she wanted to play. I waved back, and beckoned my daughter to try to wave to the other little baby (with limited success). Before long, the mother appeared. She glanced at me, gave me a brief hello, and escorted her baby to another corner of the play area. This interaction left me feeling somewhat slighted, but again I wondered what an alternate version of this interaction would be? Maybe the mother never comes for the baby and me, my daughter, and her have a cute moment of play. Maybe the mother, comes and joins us, we have a brief conversation about our respective babies and we part ways. But under no circumstances would I want or expect some kind of lasting friendship to form between me and this mother based on that interaction that would otherwise be more likely to form if I were a woman.

Interactions like these made me realize that places like the playground and the library are primarily women’s spaces. These are spaces designed for children to interact and play, but a natural byproduct of that space is an opportunity for women to meet and form friendships and communities. As a SAHD, I can participate in what these spaces offer, but only to the extent that they benefit my child. Obviously I’m not banned, or not welcome, but the spaces don’t benefit me in the way they benefit mothers. It’s similar to aerobics classes and group workouts at gyms. They’re predominantly occupied by women. Men can come and participate in the workouts, but the activity and the space is not for them strictly speaking.

As you can tell by this whole essay I’m writing about the subject, I’m not bothered by this at all but it does make me wonder what I really want? Do I really want to live in a world where playgrounds are predominantly occupied by other SAHDs? In a world of stay at home dads, are the mothers out working? Is that a good thing? That’s a separate can-of-worms I’m not qualified to answer. Would women really want their spaces dominated or encroached upon by men? Perhaps the feeling of discomfort I feel out in public as a SAHD is the system working. It’s meant to uphold a status quo—a status quo that’s telling me I should be working and my wife should be staying home to take care of the kids and if not her, then a nanny.

Then one has to wonder: If there were separate spaces for SAHDs what would that look like? Maybe it’s a playground with a bar in the corner. Or perhaps it’s a playground with an adult gym on the other side. To be sure, communities of fathers exist. They center around sports and scouting for example. For fathers of younger children, they exist as stroller-walks. However more often than not these activities exist only on the weekends. The rest of the weekday belongs to the mothers, the nannies and the daycare workers. The idea that a group of SAHDs would sit around and talk about being SAHDs while their children play is precisely what a woman would imagine we’d do. But it’s not. Male friendships aren’t generally built around relating and talking. They’re generally built around a common activity—like sports and hobbies. This tension points to masculinity and male-friendships being less suited to the type of community forming that women otherwise experience around childcare. I don’t believe there ever will be a robust community of SAHDs, at least not comparable or equal to the kind of communities formed around motherhood because of this.

Sometimes as I navigate the world of weekday, daytime childcare, I wonder if the discomfort I feel is something similar to the way women felt when they first entered the workforce—the feeling that they don’t belong there. A truly equal society would see an equal representation of men and women in the workforce and in childcare spaces like playgrounds and libraries too. We as a society place a lot of emphasis on having equal representation in the workforce and to a certain degree have achieved it. However if that’s the case, then why are these spaces still occupied by mothers? Why am I almost always the only SAHD at these places? Until someone figures out the answer to that, I'll be at story time next Monday—still the only dad there.

 
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from What Inspired Me

Look at Guillaume Dufay's surviving output by the numbers, and you run into something unexpected. Only seven complete cyclic masses survive in full. His secular chansons, by contrast, number anywhere from 59 to 87 depending on how you count. A composer whose reputation rests first on his masses was, numerically speaking, overwhelmingly a chanson composer. That fact is a small but solid thread to pull on if we want to reconsider who Dufay really was.

The Music That Shaped Dufay — English Counterpoint and Harmony

The cyclic mass — a setting of all five movements of the Mass Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) unified by a single cantus firmus — was first used systematically not by a continental composer but by composers in England. On top of that, a taste for sweet consonance centered on thirds and sixths had already existed in English music for some time. This wasn't something one person suddenly invented; it was a tendency rooted in English musical culture, and the composers most closely associated with actively putting it to use were John Dunstable and Leonel Power. Their music would later become known by the name given to this style: contenance angloise, the “English manner.” In other words, two elements — the cyclic mass as a form, and sweet consonance as a sound — had already taken root in England before Dufay.

The political situation at the end of the Hundred Years' War explains how this sound crossed over to the continent. England and the Duchy of Burgundy were allies for a long stretch beginning in the 1420s, and the Duke of Bedford, who served as regent of France for the English crown, maintained his own musical chapel in Paris. Dunstable is believed to have served under Bedford, and it was through this political crossing-point of England, France, and Burgundy that English musical language spread to the continent — particularly to the Duchy of Burgundy and its dependency, Flanders. Burgundy no longer exists as a state, but its territory consisted of its home base (roughly today's eastern France, centered on Dijon) and the Low Countries it acquired under Philip the Good (Flanders, Artois, Hainaut, Brabant, Holland, Zeeland, and more — spanning today's Belgium, the Netherlands, and Luxembourg). Cambrai, where Dufay grew up as a choirboy, sits in what is now northern France near the Belgian border — squarely within Burgundian territory.

This transmission is documented in the poet Martin le Franc's Le Champion des dames, written around 1441–42 and dedicated to Philip the Good, Duke of Burgundy, himself. It records, as a contemporary account, that Dufay and Binchois became fine composers by absorbing Dunstable's “English manner” — a style that flourished above all at the Burgundian court under Philip the Good's reign.

Ensemble Unicorn Gives Voice to the Secular Dufay

You can hear the concrete reality of the secular songwriting that fed Dufay's own musical bloodstream on Dufay: Chansons (Naxos 8.553458, with countertenor Bernhard Landauer, conducted by Michael Posch, Ensemble Unicorn, 1996). The first thing that strikes the ear is that nearly half of the album's seventeen tracks are purely instrumental. Even on the sung tracks, the two lower voices are carried by recorder, keyed fiddle, hurdy-gurdy, oud, and harp — solo voice and instruments dissolving into one another. Fifteenth-century courtly chansons are thought to have been performed in a cantilena style, with the upper voice sung and the lower voices carried by instruments (a reading supported by the fact that the lower parts survive in the manuscripts without text — untexted). This recording renders that performance practice as concrete sound. Even the chanson version of “Se la face ay pale” itself appears here as a purely instrumental track, stripping the melody down to its bare outline.

Mon chier amy - Bernhard Landauer, Ensemble Unicorn

The Bridge — A Melody Repurposed

The most eloquent thing Dufay did here isn't a matter of intricate harmonic theory — it's a much more direct fact. The tenor (the cantus firmus) of the Missa “Se la face ay pale” carries neither a chant melody nor an existing sacred piece. It is the melody of Dufay's own love ballade, “Se la face ay pale” — note for note. This is considered one of the earliest surviving polyphonic masses built on a secular song rather than a chant. A sweet courtly love melody slides, unaltered, into the backbone of the highest sacred rite. There is no more direct evidence of the boundary between the secular and the sacred dissolving.

Munrow Offers the Sound of the Sacred Vessel

You can hear that outcome on David Munrow and the Early Music Consort of London's Dufay: Messe “Se la face ay pale” (1974, EMI, now Warner Classics). The recording opens with a standalone Gloria fragment, “Gloria ad modum tubae” (“Gloria in the manner of a trumpet”) — a separate sacred piece, distinct from the mass proper. Its two upper voices are texted and written in canon, while the two lower voices are untexted and carry only the instruction “in the manner of a trumpet” — a notation understood to call for instrumental performance (sackbuts, in this recording).

Gloria ad modum tubae - David Munrow

The mass proper that follows (Kyrie through Agnus Dei) is a vocally centered reading with two singers per part, the instrumental consort kept modest, supporting rather than competing with the voices. Critics have noted that this “two-to-a-part plus restrained instruments” setup conveys the work's structural complexity effectively — a departure for Munrow himself at the time, and one that anticipated the performance style that would become standard after 2000.

Listening to the tenor line that forms the backbone of the mass proper, it's worth remembering that this is the very melody of the love song we heard on the Ensemble Unicorn recording. The weight of those “87 chansons” mentioned at the outset wasn't a mere sideline — it had become the flesh and blood of the mass itself.

Hilliard and Munrow — Two Ways of Approaching Dufay

The Hilliard Ensemble performs the same mass with an entirely different sensibility. This group has consistently sung Dufay's music unaccompanied — not just this mass, but his motets too, including Nuper rosarum flores. Choosing to leave out instruments isn't simply a matter of stylistic austerity. There's a pleasure unique to voices alone that instrumental ensembles can't offer — the physical, collaborative act of singers listening to each other's breath, feeling out intonation together, and shaping phrases in real time. What the Hilliard Ensemble's performance offers may be less an experience of “appreciating” Dufay's melody than one of the performers themselves feeling its structure through the instrument of the voice.

Kyrie and Gloria - The Hilliard Ensemble

Munrow, on the other hand, was after something else: the richness of fifteenth-century musical culture itself. Instrumental performance was widely practiced in that era, especially in secular music. His choice to include a standalone Gloria fragment — untexted, marked only “in the manner of a trumpet” — is telling. This piece was written to work equally well as voices or as instruments. Munrow seems to have heard in it the breadth of a musical world where a single melody could cross freely between media.

There's no need to decide which Dufay is the “correct” one. What the Hilliard Ensemble offers is the pleasure of voices joined together; what Munrow offers is the flexibility of an age in which a single melody was open to both voice and instrument. That the same composer's same melody can yield two such different pleasures says everything about the depth of Dufay's achievement.

Conclusion — A Synthesizer Ahead of Bach

Counterpoint itself was not Dufay's invention. It was already a highly developed technique by the time of the Notre Dame school and the Ars Nova in the twelfth and thirteenth centuries, and Dufay inherited centuries of accumulated practice, folding it into his own style as its great synthesizer. Harmony is a different matter. Setting the sweet consonance of thirds and sixths that came from England alongside the secular harmonic sensibility he cultivated in his own chanson writing — housing these two elements of different origin within a single composer's musical language, and leaving them behind in a notated form readable by posterity — that is Dufay's own particular achievement.

The musicologist Tatsuo Minagawa, in his book Music of the Middle Ages and Renaissance, points out that several distinct lineages coexist in Dufay's style: melodic writing descended from the French polyphonic lyric song tradition since Machaut, isorhythmic construction techniques, an English harmonic sensibility centered on thirds and sixths, an Italian approach favoring melodic primacy, and tendencies pointing toward later functional harmony and contrapuntal construction. French, English, Italian — musical languages that had grown up separately across contemporary Europe all flowed into a single style under Dufay's hand.

This isn't merely a matter of stylistic theory on paper. Over the course of his life, Dufay grew up in the choir at Cambrai, served the Malatesta family in Rimini, Italy, became a singer in the papal choir in Rome, composed for the consecration of Florence Cathedral, and served at the court of Savoy. That multiple styles could coexist within one composer owes something to the fact that he was a working musician who crossed Europe himself, absorbing each region's musical language firsthand.

Dufay's achievement, in other words, lay in doing two different kinds of work at once: synthesizing an existing inheritance of counterpoint, and recording a new harmonic sensibility. He carried the form and sound perfected in England to the continent, combined it with the secular melodic sensibility he cultivated through his enormous output of chansons, and handed the result down to those who came after him — Binchois, Ockeghem, and the Franco-Flemish school as a whole. This work of synthesis and transmission is exactly what earns Dufay a place alongside Bach — another composer who synthesized the styles that preceded him and left the result behind in a form later generations could read.

 
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from What Inspired Me

ギヨーム・デュファイの現存作品を数で見ると、意外な事実に突き当たる。完全な形で残る循環定旋律ミサはわずか7曲。対して世俗のシャンソンは、数え方にもよるが59曲から87曲にのぼる。ミサ作曲家としての名声が先に立つこの作曲家は、数の上ではむしろ圧倒的にシャンソン作曲家だったのだ。この事実は、デュファイという作曲家の実像を考え直すための、ささやかだが確かな手がかりになる。

デュファイが影響を受けた音楽——イングランドの対位法と和声

循環定旋律ミサ、すなわちミサ通常文の全5楽章(Kyrie、Gloria、Credo、Sanctus、Agnus Dei)を単一の定旋律で統一するという形式を最初に組織的に用いたのは、大陸の作曲家ではなくイングランドの作曲家たちだったとされる。加えて、3度・6度を中核とする甘美な協和音への傾向も、イングランドの音楽には以前から存在していた。これは特定の一人が突如生み出したものではなく、イングランドの音楽文化に根づいていた傾向であり、それを作曲に積極的に採り入れた代表的な存在として、ジョン・ダンスタブルとレオネル・パワーの名が挙げられる。彼らの音楽はのちに”contenance angloise(イングランド風)“と呼ばれるスタイルとして知られていく。つまりイングランドの地では、「循環ミサという形式」と「甘美な協和音という響き」という二つの要素が、デュファイ以前にすでに育っていたことになる。

この響きが大陸側に伝わった背景には、百年戦争末期の政治情勢がある。イングランドとブルゴーニュ公国は1420年代から長きにわたり同盟関係にあり、フランス摂政を務めたイングランドのベッドフォード公はパリに自らの楽団を構えていた。ダンスタブルはこのベッドフォード公に仕えた人物とされ、英仏・ブルゴーニュが交錯するこの政治的な結節点を通じて、イングランドの音楽語法が大陸側、とりわけブルゴーニュ公国とその領邦であるフランドル地方へと浸透していくことになる。ブルゴーニュ公国は現存する国家ではないが、その版図は本領(現在のフランス東部、ディジョンを中心とする地域)と、フィリップ善良公の代に大きく広げた低地地方(フランドル、アルトワ、エノー、ブラバント、ホラント、ゼーラントなど、現在のベルギー・オランダ・ルクセンブルクにまたがる地域)から成っていた。デュファイが少年聖歌隊員として育ったカンブレーは、現在のフランス北部、ベルギー国境に近い都市で、まさにこのブルゴーニュ勢力圏の只中に位置していた。

この経緯は、詩人マルタン・ル・フランが1441〜42年頃、ブルゴーニュ公フィリップ善良公その人に献呈した詩篇『貴婦人の擁護者』の中に証言として残っている。デュファイとバンショワが、ダンスタブルの「イングランド風」を取り入れて優れた作曲家になった、という同時代の記述であり、この様式はことにフィリップ善良公治世下のブルゴーニュ宮廷を主要な舞台として大いに流行したとされる。

Unicorn Ensembleが聴かせる、世俗の声

その響きを自らの血肉としたデュファイの世俗曲創作の実像を、《Dufay: Chansons》(Naxos 8.553458、Bernhard Landauer/カウンターテナー、Michael Posch指揮、Ensemble Unicorn、1996年)で聴くことができる。全17曲のうち半数近くが器楽のみのトラックとして収録されている点がまず耳を引く。歌われる曲でも、下2声はリコーダー、キーボード・フィドル、ハーディガーディ、ウード、ハープといった楽器群が担い、独唱と器楽が溶け合う響きを作り出す。15世紀の宮廷シャンソンは、上声部を歌い下声部を楽器で支えるカンティレーナ様式で演奏されたと考えられており(下声部が歌詞を持たない=untextedという写本上の特徴がその根拠とされる)、この盤はその様式を具体的な音として提示している。「Se la face ay pale」のシャンソン版そのものも、この盤では器楽のみのインストゥルメンタル・トラックとして収録されており、旋律そのものの輪郭がむき出しになって聴こえてくる。

Mon chier amy - Bernhard Landauer, Ensemble Unicorn

橋渡し——旋律そのものの転用

デュファイがここで用いた手法として何より雄弁なのは、込み入った和声理論の話ではなく、もっと直接的な事実である。《ミサ「Se la face ay pale」》のテノール(定旋律)に置かれているのは、聖歌でも既存の宗教曲でもない。デュファイ自身が書いた恋愛バラード「Se la face ay pale」、その旋律そのものである。聖歌ではなく世俗曲を定旋律に据えた、現存する最初期のポリフォニー・ミサの一つとされる。宮廷の恋を歌った甘美な世俗の調べが、一音も違えずそのまま最高聖典であるミサの背骨へと置き換わる——これ以上に直接的な「俗から聖への越境」の証拠はない。

Munrowが差し出す、聖なる器の響き

その結実を聴けるのが、デイヴィッド・マンロウ&ロンドン古楽コンソートによる《Dufay: Messe “Se la face ay pale”》(1974年、EMI/現Warner Classics)である。この録音は、まず独立したGloria断章「Gloria ad modum tubae(トランペット風のグローリア)」から始まる。これは《Se la face ay pale》のミサ本体とは別の、単体の宗教曲だ。上声2声(歌詞付き・カノン様式)に対し、下声2声は歌詞を持たず「トランペット風に」という指示だけが記されており、この記譜そのものが器楽(この録音ではサックバット)での演奏を前提としていると解釈されている。

Gloria ad modum tubae - David Munrow

続くミサ本体(Kyrie〜Agnus Dei)は、各パート2人ずつの歌手による声楽中心の解釈で、器楽コンソートは声を支える程度に控えめに配置されている。専門筋の評でも、この「2人一組+控えめな器楽」という編成がこの曲の構造的な複雑さを効果的に伝えるとされ、マンロウ自身にとっても新機軸だったこの解釈は、2000年以降主流になる演奏様式を先取りしていたとも評価されている。

このミサ本体の骨格を成すテノールの旋律を追いながら聴くとき、それが先ほどUnicorn盤で聴いた、あの恋の歌の調べだということを思い出したい。冒頭で見た「シャンソン87曲」という数の厚みは、単なる余技ではなく、ミサそのものの血肉になっていたのである。

HilliardとMunrow——二つのデュファイへの態度

同じミサを、The Hilliard Ensembleは全く異なる態度で演奏している。この団体は《Missa “Se la face ay pale”》だけでなく、Nuper rosarum floresをはじめとするデュファイのモテット群も一貫して無伴奏で歌い続けてきた。器楽を交えないという選択は、単なる様式的な潔癖さではないだろう。複数の声部を人間の声だけで重ね合わせる行為には、器楽合奏にはない固有の面白さがある——互いの息づかいを聴き合い、音程を探り合い、フレーズの呼吸を演奏者同士でリアルタイムに調整していく身体的な共同作業だ。Hilliard Ensembleの演奏が聴かせているのは、デュファイの旋律を「鑑賞する」体験というより、声という楽器を通して演奏者自身がその構造を「感じる」体験そのものなのかもしれない。

Kyrie and Gloria - The Hilliard Ensemble

一方でマンロウは、15世紀当時の音楽文化そのものの豊かさを聴かせようとした。この時代、世俗曲を中心に器楽演奏は広く実践されていた。歌詞を持たず「トランペット風に」という指示だけが記された独立のGloria断章を選んで収録したのは象徴的だ。この曲は元来、声でも器楽でも成立するように書かれている。マンロウはそこに、一つの旋律が媒体を超えて響きうるという、当時の音楽が持っていた懐の深さを聴き取ったのだろう。

どちらが「正しい」デュファイなのかを競う必要はない。Hilliard Ensembleが差し出すのは声を合わせることそのものの快楽であり、マンロウが差し出すのは一つの旋律が声にも楽器にも開かれていた時代の柔軟さである。同じ作曲家の同じ旋律が、これほど異なる二つの喜びを引き出せるという事実こそが、デュファイという作曲家の懐の深さを物語っている。

結び——バッハに先立つ統合者として

対位法そのものは、デュファイの発明ではない。12〜13世紀のノートルダム楽派やアルス・ノヴァの時代からすでに高度に発達していた技法であり、デュファイはその数世紀にわたる蓄積を受け継ぎ、自身の様式の中に統合した集大成者である。一方、和声面では話が異なる。イングランドから伝わった3度・6度中心の甘美な協和音感覚と、自らのシャンソン創作で培った世俗的な和声感覚——出自の異なるこの二つを一人の作曲家の書法の中に同居させ、後世に読める形の記譜として残したことこそが、デュファイ固有の功績である。

音楽学者・皆川達夫は『中世・ルネサンスの音楽』の中で、デュファイの様式について、マショー以来のフランス多声叙情歌曲に連なる旋律法、イソリズム的な構成技法、3度・6度を核とするイギリス風の和声感覚、旋律を優位に置くイタリア的な書法、そして後の機能和声や対位法的構成へとつながる傾向まで、複数の異なる系譜の要素が一人の作曲家の中に同居していると指摘している。フランス、イングランド、イタリア——同時代のヨーロッパ各地で別々に育った音楽語法が、デュファイという一つの様式の中に流れ込んでいたことになる。

これは机上の様式論だけの話ではない。デュファイは生涯のうちにカンブレーの聖歌隊で育ち、イタリアのリミニでマラテスタ家に仕え、ローマ教皇庁の聖歌隊員となり、フィレンツェ大聖堂の献堂式のために作曲し、サヴォワ宮廷にも出仕している。複数の様式が一人の中に同居し得たのは、彼自身がヨーロッパを股にかけて移動し、それぞれの土地の音楽語法を肌で吸収してきた実務家だったからでもある。

つまりデュファイの功績は、「対位法という既存の遺産の統合」と「和声という新しい感覚の記録」という、二つの異なる性質の仕事を同時にこなした点にある。イングランドで完成された形式と響きを大陸に持ち込み、自らの膨大なシャンソン創作で培った世俗的な旋律感覚と掛け合わせ、後世(バンショワ、オケゲム、そしてフランドル楽派全体)に手渡した——この「交通整理」の仕事によって、デュファイはバッハ——同じく先行する諸様式を統合し、後世に残る形で記譜した統合者——と並び称されるべき存在なのである。

 
もっと読む…

from What Inspired Me

I first came across Jana Horn through this programme. While digging through past episodes of BBC Radio 3's Unclassified, I found “When I Go Down Into The Night” on an episode titled “By Moonlight” — the closing track of her debut album Optimism (2022), built from spacious acoustic guitar and a hushed, almost private vocal, as if she were talking to herself in an empty room. I liked it enough on Apple Music that I ended up writing about her.

Radio 3, needless to say, is Britain's foremost classical music station. It hosts the BBC Proms and calls itself “the world's most significant commissioner of new music” — the very heart of Western art music. Buried within its schedule, for one hour on Sunday nights, sits a programme that quietly introduces alternative musicians of real substance who don't fit within that classical framework: Unclassified. As the show describes itself:

Elizabeth Alker with music by an exciting new generation of unclassified composers and performers, breaking free of the constraints of practice rooms and concert halls.

That phrase — “breaking free of the constraints of practice rooms and concert halls” — amounts to a deliberate declaration of independence from the institution of classical music itself. It sits alongside Late Junction and Night Tracks as one of the station's genre-defying slots. Elizabeth Alker is the show's host and public face, but production is actually handled by Reduced Listening, an outside music-radio production company, and each episode carries its own producer credit — the “By Moonlight” synopsis quoted below, for instance, ends with “Produced by Geoff Bird / A Reduced Listening production for BBC Radio 3.” Whether the selections are Alker's alone or the result of collaboration with a producer isn't clear from public information, but crediting the curation to her ear alone would not be accurate.

The intended way to experience this show is presumably to listen quietly to the radio late at night in Britain. For me in Japan, though, the experience is different. I'm not bound by the broadcast time — digging back through old playlists becomes, instead, something closer to a morning ritual, a way of shaking off sleep. Music that arrives passively as late-night background noise, versus music you go out and actively unearth in the morning: even with the same programme, the quality of the experience is something else entirely.

The Adventurousness of the Selections — Taking “By Moonlight” as an Example

That adventurous character comes through most clearly in the episode broadcast on 28 June 2026. Its synopsis reads:

Elizabeth Alker offers up a playlist of ambient and experimental sounds inspired by the moon, including a duet from Benjamin Burke and Bear Glass recorded under the night sky in the open desert outside Joshua Tree, California. Jon Hopkins and Ólafur Arnalds, meanwhile, combine forces in a piece inspired by the writings of Erica Bernhard, creative director at NASA; and South Korean multi-instrumentalist Park Jiha makes use of traditional flutes, bells and glockenspiel to conjure an atmosphere of moonlit dreaming. Produced by Geoff Bird. A Reduced Listening production for BBC Radio 3.

Using nothing but a single poetic idea — the moon — as its thread, the episode dissolves thirteen tracks spanning more than eighty years into one continuous flow.

1. Belle Chen — “Moon-Spotting” A Taiwanese-born, London-based pianist. From her 2017 album Mademoiselle. Her style starts from classical vocabulary and dismantles it through improvisation and electronica.

2. Eve Maret — “Many Moons” From her 2018–19 album No More Running. An ambient/experimental sound artist.

3. Shape Of The Moon — “Safe & Sound” A Balearic/downtempo act released on the label Marionette.

4. Penelope Trappes — “Blood Moon” From her 2021 album Penelope Three. In her own words, the moon is “a temple, a mirror of our emotions” — the track addresses the social pressures placed on femininity. Reviewers have likened it to vintage 4AD and Kranky releases.

5. Okonski — “Dark Moon” From their 2023 debut, Magnolia. A jazz trio built around members of Durand Jones & The Indications.

6. Jon Hopkins & Ólafur Arnalds — “Forever Held” Released 2024. A full-orchestral piece inspired by letters NASA Creative Director Erica Bernhard wrote from Earth to space, composed for NASA's permanent installation Space For Earth.

7. Park Jiha — “Water Moon” The closing track of her 2025 album All Living Things. Built from traditional Korean instruments — the saenghwang and piri — plus glockenspiel, it closes out the album's overarching concept: a cycle from birth to death.

8. Florist — “Moon Begins” From their 2019 album Emily Alone. A project the band itself describes as “a friendship project” from the Catskill Mountains of New York.

9. Michiko Ogawa — “Pancake Moon” From the album of the same name, released November 2025. A meditative drone work by a Japanese clarinettist/composer based between Berlin and California, layering shō, organ, synthesiser and field recordings.

10. Jana Horn — “When I Go Down Into The Night” The closing track of her 2022 debut Optimism, recorded in Austin, Texas.

11. Dylan Moon — “Deep Time” From his 2022 album Option Explore. An LA-based producer whose track title comes from a chapter of a book by Christopher M. Bache. The fact that his surname is, literally, “Moon” says something about the playfulness of this selection.

12. Bon Iver & St. Vincent — “Roslyn” Written in 2009 for the soundtrack to The Twilight Saga: New Moon — presumably chosen for its “New Moon” connection.

13. Miles Davis — “Moon Dreams” Recorded 1950, released 1957 on Birth of the Cool. One of the defining pieces of Davis's nonet period, arranged by Gil Evans.

From Miles Davis in 1950 to Michiko Ogawa in November 2025 — genre, nationality, and generation are all set aside, and the music is held together by a single poetic idea alone. That editorial freedom is proof of an adventurous space carved out inside a station that, on the surface, looks thoroughly conservative.

The Other Side — Episodes Chosen by Guests

Unclassified also runs a segment called “Listening Chair,” in which a guest musician or composer curates the whole hour themselves. Most recently, on 14 June 2026, Belle and Sebastian's Stuart Murdoch was handed the entire hour.

  1. King Creosote — “A Prairie Tale”
  2. Boards of Canada — “You Retreat In Time And Space”
  3. Arab Strap — “Chat In Amsterdam, Winter 2003”
  4. Mogwai — “Tracy”
  5. Heather Leigh Murray — “Scorpio And Androzani”
  6. Richard Youngs — “The World Is Silence In Your Head”
  7. The Four Brothers — “Rudo Chete”
  8. Belle and Sebastian — “Everything Is Now (instrumental)”
  9. Andrew Wasylyk & Stuart Murdoch — “Private Symphony #2”
  10. James Yorkston & Jon Hopkins — “Woozy With A Cider”
  11. The Pictish Trail — “Secret Sound #2”
  12. Scatter — “National Magic”

Rather than a theme, this episode lays bare a single musician's own roots. It's a reminder of how much range the same programme can hold under an entirely different editorial logic.

A Note on Listening

Show homepage: BBC Sounds — Unclassified (presumably requires access via a UK VPN)

For what it's worth: both live streaming and catch-up listening redirect to a different page when accessed from outside the UK, making it effectively impossible to listen. Worse, even viewing a given episode's playlist is blocked the same way from outside the UK. In other words, even knowing which tracks were played — the very substance of this piece — requires routing your connection through the UK via VPN.

Closing

Since Late Junction was cut back from three nights a week to one, Radio 3's late-night schedule has effectively lost the space it once had for giving proper attention to first-rate alternative music. Unclassified is one of the few things left filling that gap. Under host Elizabeth Alker and the production team at Reduced Listening, its selections connect music across genre, era, and border — and there are surely no small number of tracks I would never have encountered without it.

Even today, digging back through old playlists, I came across a wonderful musician I hadn't known before: Dawn of Midi. Once a week isn't much, but I'm already looking forward to whatever playlist comes next.

 
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