Still a few tickets left to hear @xeniapestova.bsky.social playing these tomorrow at St Cecilia's Hall, plus new work from @tinparksky.bsky.social and @aulichmusic.bsky.social www.eventbrite.co.uk/e/leaky-bodi...
never underestimate the power of "this, but MOAR!"
it does create big headaches though because the intonation is varying degrees of really fucking rough down there!
If we involve a bit of material history we can clear this one right up. Well, nothing is just for one reason, but Iommi pitched down because he lost some fingertips in an industrial accident. That sound was very influential on what followed.
Also, a down-pitched guitar sounds nothing like a bass.
ngl I had to google sentence frames!
That pyramid of understanding thing is wild. Composers of all abilities flick through every level simultaneously; I've never seen something that resonates less with what I actually do.
Advert for a job position with the title cut off, so that it reads: Senior Lecture in Music (Composition...
The full job title, which reads Senior Lecturer in Music (Composition for Film and Games)
the lord he giveth... and he taketh away.
two things I always tell my students when we're in the unenviable position of having to do Bach chorales:
- I have learned and forgot this exactly as many times as I've taught it.
- These are not rules for composing, they are a generalization of what is appropriate for a very specific genre.
But how was that built and how can we do it again?
Do we even want to do it again if it might get torn down again?
Maybe my second question answers my first...
yeah. the degree forethought that has to go into the smallest thing in a project as complex as an OS makes me marvel at the fact linux and all its bits and pieces exist at all tbh
there are many barriers to this.
to give you just one, lots of EFI implementations on older machines are incomplete, and the result is a really picky mess that just won't boot from a USB stick unless it's pretending to be Windows absolutely perfectly.
me, a man in my early 30s, sat in my cluttered loft work space, gazing intently at the camera. the proportions are unsettling. I'm also wearing odd socks.
my hands are too large for my cup
and yet I am too small for this space
The perfect example of analytic philosophy: let's make up a hypothetical that to us (of a certain class/race/gender) seems like an intractable dilemma but for anyone with actual knowledge of the material situation is actually an entirely different issue
😂
they're right. it's completely unacceptable to compare ICE to the gestapo. They're more like the einsatzgruppen.
hear me out - new tax for super wealthy to prevent hoarding. what you've gained in wealth over the last tax year above a certain threshold, you have to spend in the next or you're taxed something obscene like 95% - spend your money or we spend it for you.
at the end of all this
artists, writers, poets and musicians
will command a rate far in excess
of any AI bro
and when i'm near retirement
I will crawl up a tall tower
to collect my yearly wage,
look out over my kingdom
and raise a toast to my bounty:
two jelly beans and a quarter cup of lemonade
30-something-year old composers whose music has something to do evil sounds, atmospheres and spaces, embodiment and decay: I can't help but wonder if we might have all been profoundly shaped by roughly the same experience encountering Burial, et. al. in about 2010. Am I right?
whom amongst us
I'm just putting things on the table, here. Blue sky thinking, if you will.
en.wikipedia.org/wiki/Cadaver...
can Thomas Kinkade just kind of apologize in general though?
I move it around constantly tbh
right now it's at an angle, with the escape key side about 10 cm from the edge, and the number pad side about 15 or so
thanks for getting me onto this, mate, it's made my morning!
tell us your compositional journey to date.
don't make a list of collaborators, be super specific and tell us all what you did.
also mention other things you do apart from composing.
BUT can you cram all this in, I dunno, like 1,000 characters?
Olivia Palmer-Baker (bassoon) and John Aulich (composer) Je Mets Mon Scaphandre, for Bassoon and Live Electronics 15.3.2025 - Doors 18.45 - Start 19.00 FREE ENTRY CARL-FLESCH-SAAL - UDK BERLIN - BUNDESALLEE 1-12 10719 BERLN KLANGZEITORT
Olivia Palmer-Baker (bassoon) and John Aulich (composer) Je Mets Mon Scaphandre, for Bassoon and Live Electronics 15.3.2025 - Doors 19:00 - Start 19:30 ENTRY BY DONATION PHILIPPISTRASSE 7 - 14059 BERLIN NYT.ART.SPACE NYT
Two concerts in Berlin featuring my large-scale bassoon and electronics piece in a matter of weeks! 15th and 17th March, performed by my obnoxiously talented collaborator, Olivia Palmer-Baker!
my little tactic: repeatedly suggest notational approaches I happen to know are a total pain in the arse to get Sibelius (et al) to do in the hopes they just sod it off all together
(also, if you PM me I have a merge sort in Python I use for teaching purposes - it puts numbers in ascending order, but it's just one extra function to have it reverse the output)
BBC bitesize has some really useful explanations of sorting algorithms you could use to make one real quick in any programming language at all (not necessarily Python if it's not your bag)
yeah, it's one my little hobby horses haha - I don't go on about it to students but it is something that I like to try and get them thinking about
