YTSEJAM digest 3852

From: ytsejam@ax.com
Date: Wed May 06 1998 - 22:49:14 EDT

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YTSEJAM Digest 3852

Today's Topics:

  1) Re: technicians geek
by The Digital Man <cmerlo@CS.WM.EDU>
  2) Re: LTE-like projects
by "James C. Shields" <jimbob213@mail.utexas.edu>
  3) Re: Lars on Crack!
by "James C. Shields" <jimbob213@mail.utexas.edu>
  4) Re: How I got into DT
by "James C. Shields" <jimbob213@mail.utexas.edu>
  5) Re: YTSEJAM digest 3850
by Ernesto Schnack <e_schnack@yahoo.com>
  6) Re: That's all for now Jimmy. ;)
by "James C. Shields" <jimbob213@mail.utexas.edu>
  7) Re: That's all for now Jimmy. ;)
by The Digital Man <cmerlo@CS.WM.EDU>
  8) Re: YTSEJAM digest 3847
by JKorby1973 <JKorby1973@aol.com>
  9) Venues de Milo
by Lobsterback <hender@wam.umd.edu>
10) Re: YTSEJAM digest 3847
by DrummerEsh <DrummerEsh@aol.com>
11) Young Jammers
by David Hatlee <dhatlee@dhpc.com>
12) Re: Theory Rears Its Ugly Head
by KEZCOM <KEZCOM@aol.com>
13) improv bass solos
by "BassicRob" <bassicrob@geocities.com>
14) How I got into DT
by Haje Jan Kamps <hajejan@mail.geocities.com>
15) The Two Cultures
by Adam Barnhart <adamb@cfmc.com>

----------------------------------------------------------------------

Date: Wed, 06 May 1998 20:29:34 -0400
From: The Digital Man <cmerlo@CS.WM.EDU>
To: ytsejam@ax.com
Subject: Re: technicians geek
Message-ID: <199805070029.UAA07176@daffy.cs.wm.edu>

> Aren't you fed up of talking of how this one and that one are good
> because they can play their instruments very well.

No, not at all. In order for me to become a better musician, I have to figure
out why I enjoy some musicians' work so much, and dislike others' work.

> The main thing people are looking in music are hooks and for that you
> don't need top be super efficient with your instrument, ask Malcolm
> Young!

That's not true of everybody. There are those people that like King Crimson.
(Thanks, whoever used that as an example earlier. :)

> Making music for musicians is the stupidest thing ever.

"I write the music I like. If other people like it, fine, they
can go buy the albums. And if they don't like it, there's always
Michael Jackson for them to listen to." - FZ

> If you are considering music as an art, you should also take the
> entertainment value into consideration.

Entertainment is not (always) the purpose of art. At least it shouldn't be
the primary concern of the artist. I consider myself an artist, inasmuch as I
compose music and write lyrics. And the most important thing to me is if I
can get my listeners to *think*. And, sadly, for most Americans these days,
being forced to think is not entertainment. (It still is for some of us,
though.)

> Do you think Dream Theater could have hope to have some success if they
> had only reached the musician crowd?

In America, clearly not. But bands like DT and Mr. Big are *huge* in Japan.
Is that because they're all musicians, or just because Japanese culture
respects well-crafted art more?

> Please stop taking music so seriously.

For some people, it's the only thing to take seriously. I take my music
almost as seriously as I take school and my interpersonal relationships. It's
*that* important to me.

Besides, part of enjoying art is analyzing it. You can say "nice picture," or
you can get into the artist's head and figure out what inspired it. Simiarly,
you can say "nice beat" and tap your foot along to the music, or you can get
into the musician's head and figure out why such-and-such scale was used, and
why the intensity of the song shows through the way it does. The difference
between <insert apparently-talentless popular computerized act here> and Dream
Theater is the same difference as that between house painting and Degas. They
both use the same tools, but they do not produce, nor were they intended to
produce, the same emotional effect. If you get the same thing out of both,
you're missing the point.

  ------------------------------------------------------------------------
  The Digital Man \|/ ____ \|/ "640 K ought to be enough
  cmerlo@cs.wm.edu "@'/ ,. \`@" memory for everyone." -Gates
  d-man@dreamt.org /_| \__/ |_\ "He won't need a bed
  http://www.cs.wm.edu/~cmerlo \__U_/ He's a digital man" -Peart
  ------------------------------------------------------------------------
        "The Spirit of Radio" Saturday 2:00pm-4:00pm 90.7 WCWM-FM
                    http://www.cs.wm.edu/~cmerlo/tsor

------------------------------

Date: Wed, 6 May 1998 19:29:23 -0500
From: "James C. Shields" <jimbob213@mail.utexas.edu>
To: ytsejam@ax.com
Subject: Re: LTE-like projects
Message-ID: <l03102801b176afc34220@[128.83.221.87]>

>I would welcome a few more projects like LTE

have you heard Black Light Syndrome? it's Terry Bozzio, Tony Levin, and
Steve Stevens. It's got some really, really cool stuff on it. It's mostly
the three just jamming on a few riffs they worked out ahead of time, but it
is awesome. You can hear Levin a lot more, because there are very few
guitar overdubs, and the music isn't as heavy and dense as LTE. if you
haven't heard it, definitely give it a try. my only criticism is that it
sounds like the drums aren't close-mic'd, just overheads, but it still
sounds pretty good.

James C. Shields
Undergraduate
University of Texas at Austin

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Spread before you is your soul
So forever hold the dreams within our hearts
Through Nature's inflexible grace
I'm Learning to Live
"Learning to Live"
Dream Theater
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

------------------------------

Date: Wed, 6 May 1998 19:37:39 -0500
From: "James C. Shields" <jimbob213@mail.utexas.edu>
To: ytsejam@ax.com
Subject: Re: Lars on Crack!
Message-ID: <l03102802b176b250dbc9@[128.83.221.8]>

>You'd think hundreds of gigs was enough practice for the bonehead, but the
>heroine and crack just kept breaking the lewzer down...

actually, when he was on speed, he could do that stuff no prob, but as soon
as he quit (after nearly dying) he began to suck and couldn't even keep up
with his own shit. THIS IS PROOF! SPEED IS GOOD! EVERYONE SHOULD BE ON
SPEED! IT WILL MAKE THEM PROG MASTERS! LONG LIVE PROG ON SPEED!

James C. Shields
Undergraduate
University of Texas at Austin

------------------------------

Date: Wed, 6 May 1998 19:56:43 -0500
From: "James C. Shields" <jimbob213@mail.utexas.edu>
To: ytsejam@ax.com
Subject: Re: How I got into DT
Message-ID: <l03102803b176b4515457@[128.83.221.8]>

I was a freshman in HS, and some friends and I were going to S. Padre for
spring break. One of my friends (actually a real dumbass who just got
kicked out of college for cheating on a test) had I&W. he said it was
alright, the only good songs were PMU and metropolis. my other friend and
I put it in his discman and we started to listen to it. needless to say,
we were floored. My jaw was dragging on the road beneath the car after the
interlude of Met. ended. naturally, we both liked just about every song on
the album (it took me a while to get into LTL, but now it's my overall
favorite DT song), and we turned to our friend with the CD and called him a
moron for saying that the CD wasn't really that great.
As soon as we got back to San Antonio, I went and picked up the
CD. and have listened to that CD at least twice a week ever since (that was
about 1993/94). I saw OFB at the Majestic Theater in SA in 1994 for the
Waking up the World tour. Fates Warning opened, and it was a good show.
I'm dissappointed now, though, because on the ticket it says "Eye" Mother
Earth opening, but they didn't, and they're one of my favorite bands
now.(yes, it actually says "Eye" not "I" on the ticket; it was
ticketbastard, of course). anyway, ever since that show, I've been dying
to see DT again. AND I WILL SAT THE 24TH! WOO-HAA!

James C. Shields
Undergraduate
University of Texas at Austin

------------------------------

Date: Wed, 6 May 1998 17:52:47 -0700 (PDT)
From: Ernesto Schnack <e_schnack@yahoo.com>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 3850
Message-ID: <19980507005247.2249.rocketmail@send1d.yahoomail.com>

> From: Uroborosss <Uroborosss@aol.com>
> To: ytsejam@ax.com
> Subject: Theory Rears Its Ugly

> And that's a logical fallopian tube on yours. I say attack whomever
you want,
> whenever you want, for whatever reason. Go after the argument only
when
> there's no opponent left to destroy.
>

bafu, bafu, bafu

*POOF*

Ern
(just remembered that from the ytsejam past for some odd reason)

_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

------------------------------

Date: Wed, 6 May 1998 20:06:50 -0500
From: "James C. Shields" <jimbob213@mail.utexas.edu>
To: ytsejam@ax.com
Subject: Re: That's all for now Jimmy. ;)
Message-ID: <l03102804b176b97c8bad@[128.83.221.8]>

> That's all for now Jimmy. ;)
>
>Ernesto

OK, ernie, now I'm going to do bad things to your butthole!

James C. Shields
Undergraduate
University of Texas at Austin

------------------------------

Date: Wed, 06 May 1998 21:13:44 -0400
From: The Digital Man <cmerlo@CS.WM.EDU>
To: ytsejam@ax.com
Subject: Re: That's all for now Jimmy. ;)
Message-ID: <199805070113.VAA07362@daffy.cs.wm.edu>

James Shields horrified us with:

Top Ten Rejected Sesame Street Scripts:

> OK, ernie, now I'm going to do bad things to your butthole!

Did anyone ever start a web page of the weirdest things people have ever
posted to the list? If not, someone ought to start with that line.

------------------------------

Date: Wed, 6 May 1998 21:28:30 EDT
From: JKorby1973 <JKorby1973@aol.com>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 3847
Message-ID: <10e06145.35510e3f@aol.com>

In a message dated 98-05-06 12:01:56 EDT, you write:

<< While I'm on the topic, does anybody know what Vito's up to these days? >>
I read in one of the guitar mags last summer/fall, that Vito (unfortunately)
only considers playing guitar as a "hobby" now. Hopefully their info is wrong
or Vito's outlook has changed. Vito ruled.
Justin

------------------------------

Date: Wed, 06 May 1998 21:47:20 -0400
From: Lobsterback <hender@wam.umd.edu>
To: ytsejam@ax.com
Subject: Venues de Milo
Message-ID: <3.0.3.32.19980506214720.00971d8c@pop.wam.umd.edu>

>I was at Vanderbilt's in Plainview NY in Jan and was not impressed with the
>sound. Not that it was bad, just not as good as I had hoped for. I don't
think
>it was the hall so much though (it was a good size room). I felt (literally)
>that MP's double-bass drums just dominated the mix. I was mostly in the
center
>towards the back of the crowd. I was bummed cause I couldn't really hear
JM at
>all. His fingers were all over the place but as hard as I strained I just
>couldn't hear'm.
<snip>
>Did anyone else feel this way?

On the contrary, I was at the same show and I thought the sound quality
excellent -- no problems with the bass end (drum or guitar) whatsoever. It
must've just been where you stood.

But on the subject of crappy-ass venues...I'll be at the Electric Factory
show this Saturday, courtesy of Millersville college radio. I'd like to
take this opportunity to apologize in advance for standing in front of
whoever I stand in front of (a tall kid does what a tall kid's gotta do...).

On the totally unrelated subject of art, I'd just like to say that I've
seen the cover of Platypus, and I hereby declare it "lame". A better
cover, I think, (maybe 'cause I made it?) is available for public viewing
at http://www.wam.umd.edu/~hender/Platycube.jpg. Real platypi even. Crimeny.

Finally, IQ - discuss. Bernardo Pulgar graciously sent me several IQ MP3
files from some of their more recent albums. All are excellent. Sort of
Marillionish...but not Marillionish...I'm horrible at descriptions.
Suffice it to say, this is definitely a band worth getting into.

Roight then.

Brian "Much More Than A Soup" Henderson

===========================
Name:
W. Brian Henderson, Esq.
Contact:
hender@wam.umd.edu
ROBOT-CENTRAL:
http://www.wam.umd.edu/~hender/
===========================

------------------------------

Date: Wed, 6 May 1998 21:48:19 EDT
From: DrummerEsh <DrummerEsh@aol.com>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 3847
Message-ID: <c13d20e8.355112e5@aol.com>

In a message dated 98-05-06 12:02:12 EDT, you write:

<< That article friggin infuriates me!!!!
How can Lars go and shit talk progressive music. A majority of the people
who like progressive music and in our case Dream Theater, are musicians
themselves and/or are people who are moved emotionally by understanding what
pure unconditional talent goes into being able to play such a style of music,
with such precision. >>

Where can i read this article??

~ESH~

------------------------------

Date: Wed, 06 May 1998 21:49:07 -0400
From: David Hatlee <dhatlee@dhpc.com>
To: ytsejam@ax.com
Subject: Young Jammers
Message-ID: <199805070146.VAA19126@promail1.ee.net>

Matt Wrote:
> Unlike many DT fans that I know, I was into the prog stuff first (which
may sound weird coming
>from a 15-year-old)
SNIP!..................

Matt, what can I say...I'm inspired and enthralled all over again. You
don't know
how good it is for me, at age 29, to hear of a young musician such as
yourself already
getting into the "real goods".

Too many people your age are being influenced by all the wrong methods into
worshipping crap. I started listening to Rush (2112) when I was just 11 years
old, and it helped shape my musical instincts from that point on.

To see a 15 years young man such as yourself getting into bands like Rush
and Dream Theater gives me new hope that our style of preference will survive.
I'm really glad you posted, and I can't tell you how happy it makes me to
know
that there are some youth of today who are being touched by these incredible
bands, and that you understand them, and that you are getting that same "chill
down the spine" feeling from hearing this music as many of us other jammers
are!

I'm assuming that you've already gotten into a little bit of Kansas and
Queen as
well at this point? In any case, keep heading in the same direction you've
started
on, and always keep an open mind. I look forward to seeing more young jammers
come out of the woodwork here!

Dave (aka buster) Hatlee

http://www.dhpc.com/wdadu/

http://www.dhpc.com/ryche/

------------------------------

Date: Wed, 6 May 1998 21:54:39 EDT
From: KEZCOM <KEZCOM@aol.com>
To: ytsejam@ax.com
Subject: Re: Theory Rears Its Ugly Head
Message-ID: <690ca2ba.35511460@aol.com>

Bafu,

Classic, man, classic. You've outdone yourself. I truly laughed out loud.

BTW, it sure was great to meet you. Had a blast. Let's do it again
sometime(minus the heat, sweat, and crushing physical pain).

Still ringing,
Kez

------------------------------

Date: Wed, 6 May 1998 22:14:52 -0400
From: "BassicRob" <bassicrob@geocities.com>
To: "ytsejam" <ytsejam@ax.com>
Subject: improv bass solos
Message-ID: <01bd795d$ec27e980$c1e2ca98@default>

Hey Jammers,
i have 2 bass solos of mine that i recorded. they are all improv are there
are a few mistakes but check them out. let me know what u think. they are
at this page if u wanna skip my main pages:
http:\\members.aol.com\bassicrob\solos.htm
-Rob, bassicrob@geocities.com
Visit my webpage for my bass solo mp3's, and other useless info.
http:\\www.geocities.com\SunsetStrip\Mezzanine\1566

------------------------------

Date: Wed, 06 May 1998 22:19:42 -0400
From: Haje Jan Kamps <hajejan@mail.geocities.com>
To: ytsejam@ax.com
Subject: How I got into DT
Message-ID: <3.0.32.19980506220301.007de750@mail.geocities.com>

Matej wrote:
>Subject: Re: How I got into DT

Well.. to be exactly what everyone told me not to be... A follower...

here is my story

A wonderful day in (whatever month it was, somewhere the last three months)
I was bored, and was chatting on IRC about music. If I held logfiles over
my sessions (which I do, but deleted them) I would know how I got in touch
with this weird guy called Bluesman.. here I was, happy Sublime and Pantera
fan, and he started talking about this "awesome group" and insisted on
sending me an mp3.. I thought.. Oh what the flip. Who cares. So I got "You
not Me" in my little mailbox. I listened to it about three times, and then
deleted it. I told Bluesman I LOVED it, and thought that silly group called
Dream Theater would stop bothering me and my little mainstreammusic-world.
No such luck. he kept of squeeling about "Dream theater this" and "dream
theater that"

So I ended up at Mediaplay in MtZion, Georgia, and was going to buy Images
and Words. I went to the car, cranked it up.. And out of the speaker came
AC//DC.. Not knowing better, I took it back and bought Awake instead.

I loved Awake, and bought I&W and FII from CDNOW, shortly followed by LTE.

Well.. To put it this way.

All I can do is to thank this Bluesman guy, on the jam better known as
Matej Grignic... For introducing me to the group of wich the cd is more or
less melted stuck in my cd player for being on "REPEAT ALL" day in day out
since I bought them.... And for ending up being a great friend (don't you
feel the tears coming :)

Well.. All I can say is that.. I am on the list.. I haev my 3 dream theater
cd's, and LTE, and I cannot wait for Fedex to get the rest of the drema
theater cd's to my house.. Hopefully tomorrow.

------------------------------

Date: Wed, 06 May 1998 19:37:47 -0700
From: Adam Barnhart <adamb@cfmc.com>
To: ytsejam@ax.com
Subject: The Two Cultures
Message-ID: <3.0.3.32.19980506193747.006abdf8@pop.cfmc.com>

While everyone else is duking it out on the other side of this, I'll just
get on with my little battle with Ernesto (okay, picking on people with
finals forthcoming is cruel, but slaving for The Man isn't a whole lot
better [I'm compiling at the moment])....

>> He knew that music wasn't a static art form, if that's what you mean. The
>> above doesn't entirely make sense to me. Schoenberg was something of a
>> musical revolutionary...
>
>well, yeah, basically he came up with that system, because he was
>following the set trend of western music to evolve further. So he did
>something revolutionary by being conservative...

"(He) did something revolutionary by being convervative" is an interesting
phrase. It isn't entirely wrong, in that not changing a paradigm of change
is actually preseving a status quo, in terms of stasis vs. activity. But
the fundamentals of change are, by definition, NOT conservative. Which, I
suppose, can be a little paradoxical. But the lack of change is something
that can happen in only the one way (chance does not occur). There are
several manners in which change can take place...in fact, the tone row, the
electrical amplification of music, the development of digital recording
methods, and the introduction of synthesis are all changes that take us in
different directions. To take them all and lump them in as simply "change"
does a disservice to the myriad ways the musical world has developed in
this century. I wouldn't call Schoenberg, in light of that, a
"conservative" at all.

>> We know it's an art form...and, perhaps, the most abstract of all art
>> forms. We know it's a medium through which people convey cognitive and
>> emotive material. We know it from a sonic sense and, anthropologically and
>> sociologically, we know quite a bit about the roles it plays. Of course,
>> there's a mystery to music precisely because of its abstractness. But that
>> doesn't mean that we don't "know" what it is. We SURE know quite a lot
>> about what it's for.
>
>Really? We have a lot of theories, but nothing has been proved. How
>and why did music come about in the first place? What is it's purpose
>in our society? As etntertainment? as an artform? If so, how does the
>expression of individuals help society as whole? Why is it that
>certain sounds make us feel certain ways? Is music some sort of
>connection to some conciosness we're not aware of yet? etc, etc...

Nothing has been proved about music at all? Music DOESN'T communicate to
us? With all this discussion of theory and how it might be applied and
what it says about the world of music, you're telling me if I write a piece
in a minor key, there is NOTHING I can say about the emotive content of
that versus writing it in its relative major? You've probably heard the
phrase "tribal drum." When we use that phrase in metaphor now, we're
calling upon a part of human history when the beating of the drum was a
call to attention (or a call to revelry and debauchery, for that matter).
When you hear the fanfare at the racetrack, you know the race is about to
begin. That we don't describe the complete function of music isn't to say
that we can't describe it at all. I've said that music is a supremely
abstract art form -- it isn't, as you suggest, something which we can
entirely address literally. But we CAN describe its form and its function
in meaningful ways. You've got a bunch of dissertation-length questions up
there, but I'll take brief stabs at them to make my point:

1) We don't know the totality of the story of the introduction of music to
human society. Anthropologists have looked at great length into the
proto-musics that existed long ago, but a need to organize sound predates
recorded history, hence we're not likely to have meaningful answer. Right
now, the oldest music we know about in detail is the Dies Irae, which only
traces back to the Dark Ages. There are several indications in human
record, of course, that indicate the presence of music millenia before that.

2) Its purpose in society in manifold. It IS entertainment AND an art form.

3) If you don't know how the expression of individuals helps society as a
whole, you're going to fail your final, Ernesto.

4) As has been suggested in the other debate going on here, one's listening
experience has quite a lot to do with the ways that we experience certain
sonic characteristics emotionally. To narrow, in the western world, we
associate minor seconds with discord, minor thirds with melancholy, broadly
speaking (context can, of course, change this radically). There are
acoustic reasons for these selections, but it's the conjuncture of nuture
and nature that brings us what we feel when we hear various musics.

5) That, of course, is a speculative issue. A lot of people would argue
music is pre-cognitive. I'm not sure it may not be super-cognitive. It's
an interesting area of inquiry, that much is for sure.

> And there are certain things that we know about sonic
>> qualities -- a minor second is a dissonant interval, an octave is a
>> consonant interval.
>
>A minor second is *more* dissonant than and octave. I'm sure you know
>the whole 'perfect fifth's used to be considered dissonant' schtick.

See above. Consonant is the opposite of dissonant.

> Loud staccato sounds get our
>> attention more fully than soft, gradually swelling and receeding
>sounds.
>
>..depending in what state of mind we're in. There are times when i
>completely ignore loud music, and the softest little hum will grab my
>attention.

This is an evolutionary trait. Loud noises get our attention. You may
tune out a constant sound of loud noise and in silence, a soft hum may get
your attention. It's the change and punctuation that gets our attention.
And louder punctuation tends to get our attention most fully. It's how we
used to eat...and kept ourselves from being eaten.

>All your talking about here scientific data. Yes of course we know
>music is organized sound. Of course we know we react differently in
>different ways, but why is it that every time i listen to ;Lines in
>the Sand', i get chill down my spine, and i get all pumped up with
>energy? I don't know. If you do, please tell me, beacuse i've been
>thinking a lot about this lately.

Well, insofar as Sociology, Anthropology, and History are Social Sciences,
sure, I AM talking about scientific data. But the reason the Social
Sciences are my life's work is because they have meaningful things to say
about the things that are most meaningful to us, cognitively and
affectively. The minutiae of why "Lines in the Sand" affects you the way
it doesn't isn't something I can meaningfully answer, based on what I know
about you now. I have a sense of why "Learning to Live" is my favorite
Dream Theater song. And why I like Mussorgsky more than Franck. And we
can say a LOT, in broader terms, about the role and composition of music.
It's a disservice to science and the humanities not to let them intersect
and give us information where they can. There's quite enough mystery in
the world...I rather like the idea that there are things that I can have
some knowledge of.

>Every single culture in the world has music...but they all do it
>differently. Yes there are certain common elements, but the way music
>is viewed differs greatly between cultures. And evry culture sees
>another culture's differently. I read somewhere that to Iranians (in
>the 70's, i dont know about now) all western music sounds the same.
>Disco, rock, classical. It all sounded similar and lacked variety.

That has to do with what they're attenuated to as listeners. I'm sure you
know that already. That there are a number of views on music doesn't mean
that music is ultimately unknowable. But I'm not a believer in cultural
relativism, nor am I a believer in musical relativism. Like the other
Adam, I believe in the development of hierarchies. There aren't an awful
lot of people here (I can't imagine there's ANYONE here) who don't have
likes and dislikes, musically. We can argue all day about what their
compostion is, could be, and should be, but to argue that they don't exist
is absurd.

>With all these outlooks, how do we know there is a proper way to go
>about it? I sometimes get frustrated of music schools because they
>teach everything to you as if it were the only way. The never tell
>you "This is just the way Western Europe looked at music, want to a
>try another way? "

Oh, there are plenty of people teaching out there who'll encourage you to
go and investigate all the music you can get your hands on. Satriani's
probably the best known guitar teacher in the world, and all he's ever said
is that it's advantageous to build all the vocabulary you can. In fact, he
specifically has argued for the development of the musical vocabulary for
more than a decade. Other institutions are much the same way. Musicology
is a fairly common degree in academia these days, and it's premised on much
the same thing...learning the social and musical value of a variety of
musical styles from throughout the world. The interesting part is
developing a meaningful synthesis from all of this information. And if
anyone wants to argue about why I like the music I do, I'm more than
willing to take a crack at it, workload permitting.

>ok i have to stop now, i have to study for my art history final...

Good luck....

Five Gratuitous CD's:
=====================
1. Frank Zappa: Ship Arriving Too Late to Save a Drowning Witch
2. Dramarama: Vinyl
3. Living Colour: Time's Up
4. Rush: Hold Your Fire
5. Tori Amos: Boys for Pele

Adam D. Barnhart
adamb@cfmc.com
ydnt85a@prodigy.com
http://www.cfmc.com/adamb

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