northanger (northanger) wrote,
northanger
northanger

l'armonica

217 [+] : centered hexagonal number (1, 7, 19, 37, 61, 91, 127, 169, 217 ... 919) — It [19] is a centered hexagonal number ... It was the number of number of Propositions put to Charles I by Parliament in 1642 intended to limit the power of the Crown (Numbers Game) : Connecting the Dots [+][+][+][+][+][+][+][+] :: AQ 217 = ATTINCTURA = DARK TEA GREEN = JUNGLE GREEN = KATTAK EFFECT = NINE-ONE-NINE = QWERTYPIC = REFUS GLOBAL (Les Automatistes manifesto) = ZYGONOVIC (9-Sum Coupling; see: Barker Spiral, Zygonomy, Zygonovism, Conduit).

AQ 218 = BENZENE RING = DOUBLE-WANDED = LIBER QWYZ (Intro to Qwernomics) = NIKOLA TESLA = PURPLE HAZE = TIME AND SPACE.

257 [+] : fourth Fermat prime (with 3, 5, 17 & 65537); Pythagorean prime, irregular prime, long prime, sexy prime, Chen prime, Eisenstein prime & Pierpont prime : 257 added to consecutive primes = 749, 771 & 789 : Fermat numbers have what mathematicians sometimes describe as a "beautiful mathematical form," involving powers of 2 (Cracking Fermat Numbers) :: AQ 257 = ALPHANUMERICS = CIVILIZATION = CONCLUDING ARIA = DOLCE FAR NIENTE = JUNSUI KEIKEN ("pure experience"; starting point of Kitaro Nishida's philosophy) = TWIN SYSTEM = TWIN-TRACKING.

AQ 258 = 9 SUM COUPLING (Zygonomy) = ARIES TWENTY.

CONCLUDING ARIA: Sonorous Bodies: Women and the Glass Harmonica : The recitative celebrates the "sweet harmony" and the "calm" and "modest" sounds of singer and instrument, while the cantata's concluding aria, "Alia stagion de' fiori," showcases more virtuosic parallel passages, echo effects, and dialogues between soprano and armonica.


Music still traveles under top-secret ordres. And assuredly these contain no references, directly or primarily, to an origin linked with material things and the magic of things. —Ernst Bloch, "Magic Rattle, Human Harp"

If the glass harmonica is now little more than a curious dead end in the history of musical instruments, it seemed in the late eighteenth century to conjure up all the magic of which music was capable. Karl Leopold Röllig, a self-styled Glasharmonika virtuoso of the 1780s, declared, "The effect of this instrument borders on the fabulous, and it is probable that, if it should ever be lost, tales of it would be for future readers just what the story of Orpehus's lyre is for us." [1] How might we account for the initial popularity, the rich connotative power, and the subsequent fall from grace of this short-lived epitome of musical perfection? Ernst Bloch's notion of the primitive or magic instrument offers a useful point of departure. Bloch's essay "Magic Rattle, Human Harp" outlines a narrative of music's progress from the sensual or material to the rational, beginning with a premusical age of ritual and magic: "There was a time when the musical notes did not appear such a free agent. It was linked quite specifically with the instrument producing it. . . . the sound is an attribute of the instrument, to which it is linked in a purely material sense." [2] The glass harmonica, for a few brief decades, resembled Bloch's "magic rattle," an instrument credited with occult powers and one whose particular qualities resided in its material body. As such it inspired fantasies of pure presence, of transcedence, and of magic. Like Orpheus's lyre or an Aeolian harp, the glass [+]

Alia stagion de' fiori probably Alla stagion de' fiori, 2nd aria of L'Armonica, Johann Adolf Hasse/Metastasio.

AQ 155 = L'ARMONIA = COLLAPSE = DJYNXX.

AQ 167 = L'ARMONICA = CELESTIAL = DECLENCHER (French, "to start; trigger") = POLYGON = THE VALVE = US ACADEMIA.

AQ 266 = GLASS HARMONICA = CTHULHU FHTAGN! = END OF HISTORY = FLUX CAPACITOR = LIGHTNING BOLT = SENSE OF HUMOR = SOCIAL REALITY = SUNSET ORANGE = SWASHBUCKLING.

AQ 1098 = THE GREATEST GIFT OFFERED TO THE MUSICAL WORLD OF THIS CENTURY (Thomas Jefferson on the Glass Harmonica)

AQ 415 = ADAGIO AND RONDO IN C MINOR (On commission from a celebrated blind virtuoso, Marianne Kirchgässner, [Mozart] wrote a solo Adagio in C Major and the magnificent Adagio and Rondo in C Minor for armonica and string quartet, generally considered the most important piece in the instrument’s repertory) = PAY HOMAGE TO THE MASTER (Postmodernism as Pathology, k-punk) = IMPOSSIBLE JOUISSANCE = MEKTOUB, IT IS WRITTEN = PERMANENT ELECTRICITY = THE AMERICAN ENTERPRISE.

AQ 1004 = ADAGIO AND RONDO FOR GLASS HARMONICA, FLUTE, OBOE, VIOLA AND CELLO = BUT I DIDN'T WRITE IT FOR YOU, I WROTE IT FOR LITTLE GIRLS! (Goethe to Knebel on the moral status of Elective Affinities).

AQ 336 = ALIA STAGION DE' FIORI = CHIRPING SECTARIES (T. S. Eliot) = AIM WITHOUT AIMING = HOMELAND SECURITY = = IAN HAMILTON FINLAY (I should say — however hard I find it to justify this theory — that "concrete" by its very limitations offers a tangible image of goodness and sanity; it is very far from the now fashionable poetry of anguish and self ... It is a model, of order even if set in a space full of doubt.) = MULTUM NON MULTA (Quality not Quantity).

AQ 339 = ALLA STAGION DE' FIORI (In the season of flowers) = 911 HYPER-SYMBIOSIS = DEMING PHILOSOPHY = EUCLIDIAN GEOMETRY = EYE OF THE HURRICANE = MANIFEST THE ARROW = THE DOUBLE-WANDED ONE (Liber AL III:34) = THE HEART OF THE OCEAN = VIRTUAL FUTURES.

AQ 633 = ALLA STAGION DE' FIORI, E DE' NOVELLI AMORI (In the season of flowers, and of new loves) = AND IT'S TIME FOR YOUR SICKNESS AGAIN (Battle Flag, Pigeonhed) = NUCLEUS OF THE MODERN DEMOCRATIC MEME.

AQ 661 = IN THE SEASON OF FLOWERS AND NEW LOVES = ELECTRICAL BANANA IS GONNA BE A SUDDEN CRAZE (Mellow Yellow, Donovan) = STRAP YOUR ROCKET ON AND COME TO DADDY = TO LOCATE SOLUTION, DEFINE THE PROBLEM.

AQ 599 = L'ARMONICA: ADAGIO BY JOHANN ADOLF HASSE = CHARLES' RULE WITHOUT PARLIAMENT = SWASHBUCKLING ADVENTURE STORY.

AQ 321 = SONIC SCULPTURE = THE AMERICAN ICARUS = THE GLASS MENAGERIE (Tennessee Williams) = THE PAINTER'S EASEL = TWO COAXIAL CHAINS (Rosalind Franklin) = WARATAH-BLOSSOMS.

AQ 504 = RE-CONSTRUCT A PERIOD SOUND (Aguilera versus De Palma, k-punk) = SIX CANONS OF CONSERVATISM (Russell Kirk).

00607 = SAY, CAN YOU HEAR A CELESTIAL HARMONY? = MUTED TRUMPET ON THE SOUNDTRACK (Aguilera versus De Palma, k-punk) = SOUTH PARK: BIGGER, LONGER AND UNCUT.

AQ 212 = METASTASIO = NEGARESTANI = NOBEL PRIZE = PERIWINKLE = RHIZOMATIC = THEORYLAND = ZYGONOMY (Double-numbering; especially Mesh/Net number twinning).

AQ 301 = ORCHIS RESONANCE = CLOUD-CHAMBER BOWL = ART OF THE SURFACE = BAVARIAN GENTIANS = THE VOICE OF ENIGMA = WEEPS AND GHOSTS ([MUSIC LINK] For glass harmonica and string quartet. Piece dedicated to Thomas Bloch, Jan Erik Mikalsen).

AQ 606 = ASTEROID ORCHIS, THE CONCLUDING ARIA = A CREATIVE VICTIM OF MENTAL ILLNESS (Chris Sizemore) = ARE YOU PREPARED FOR THE PRETENDER? (Jackson Browne) = CYBERNETIC CULTURE RESEARCH UNIT = FOREIGN POLICY + DOMESTIC POLITICS = INTER-CONNECTIVE COMMUNICATIONS (Druj Notes) = IS THIS IT? FUCKIN, SUCKIN, SNORTIN… (Postmodernism as Pathology, k-punk) = MAGICAL ACT OF COHABITATION WITH A NUN (MAZ, 6th Aethyr) = THE POKER WISDOM OF PAULA ABDUL-JALIB = THEN SHALL THIS KNOWLEDGE GO ARIGHT.

[+][+][+][+][+][+][+][+][+][+][+][+][+][+][+]

Tags: awas, junsui keiken, kitaro nishida, kyoto school, nishida, numbers, orchis
Subscribe
  • Post a new comment

    Error

    Anonymous comments are disabled in this journal

    default userpic

    Your reply will be screened

  • 0 comments