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[yclept]

Hi. This is a friends-only journal now. If you've been following along but hadn't friended me before, now's the time to add me. If I know you (from mutual friends or possibly otherwise), I'll add you back. If you're new to my world and want to see what goes on in my life, add me. But I have to say in all honesty that it might take a while for

Comments

[nursenecrolust]

Hey saw your lj on the vertex site and I like your journal mind if I add you?

[yclept]

Sure. But I tell ya, I'm really just an old fogey.

[flawlessimprfxn]

Hi! I found info about you at this link : http://www.livejournal.com/community/lj_abuse/2647623.html!

[yclept]

Hey, man...sorry I didn't see your comment until today.

You're welcome to add me, and you should know that (1) I am an old fogey, (2) I don't know if I will add you back (at least, in a timely fashion), and (3) most of my entries are trivial observations about life that really won't add much sparkle to your friends page.

[yclept]

By the way, is your username a reference to the song by Wire?

[yclept]

In Freie Satz Schenker says all rhythm comes from counterpoint. Unmeasured preludes definitely have counterpoint. Can analysis help parse the rhythm and meter of an unmeasured prelude, so that performers don't have to rely mostly on stylistic knowledge?

I'm thinking Schenker's claim is a little too sweeping. For him, all passing and neighbor tones become, at some point, unaccented. The only accented non-chord tone is the suspension, but even that he eventually traces to a weak beat origin. Plus any analytical graph is arrhythmic. So at what point, if any, does a voice-leading graph gain durations and accents, ones that define the surface of this particular piece, and not some other one? It requires some leap that I can't fathom.

[upasaka]

HI. You have Louis couperin listed as an interest and we have the same birthday, so I added you to my friends list. I'm an old fogey, also, and I have no great fondness for Schenker's sweeping generalizations. Cheers.