Adam Bartnik’s Post

Expectations live in everything we do and everyone we meet, in our conscious & subconscious mind, in the atmosphere of places, interactions and circumstances. They might bring good energy... serve as motivation or a sign of ambition (!)... After all, we need to expect from ourselves a bit more every time we want to achieve new goals.  But for an artist what are the expectations regarding his art? "The creative act knows no memory, science, or knowledge. These things are always related to the past. The creative act accepts no conditions other than itself, therefore it is free. The creative moment is free… free of all knowledge and instincts, all is transcendent. In music, the present is a perpetual, continuous genesis. The present is always linked to the beginning and the end, but at the same time it is free from any element that can influence its musical function." considered Sergiu Celibidache speaking about his musical philosophy... This is true also for us "mere mortals": the past is Experience, the future is Expectation and the present is the time in which we can express our Freedom, attempting to create the supreme masterpiece: our own Life! Credit: "Smoke" by Dimash Qudaibergen

Mozart is often celebrated as a genius of counterpoint, but what happens when we take a closer look at his canons? In fact, he composed very few complex ones, and the remaining works are riddled with counterpoint errors. Take K.553 and K.554, for example—both are sacred canons, yet far from the technical perfection one might expect. The Ave Maria canon shows a regression in Mozart’s compositional skills, full of harmonic and contrapuntal mistakes. Even “V’amo di cuore teneramente” K.348, a canon for 12 voices, was left incomplete and later finished by someone else. These works challenge the myth of Mozart’s infallibility. Discover more in our latest article: The Truth Behind Mozart’s Canons: Simplicity, Errors, and the Myth of Perfection. https://lnkd.in/dK2qFWtx “The errors in Mozart’s canons, from contrary octaves to parallel fifths, suggest a composer far from the technical perfection often attributed to him.”

Always Keep the Voice at Its Peak Opportunities, by their very nature, emerge from unexpected corners—they come without warning, testing whether you are ready or not. For a classical singer, the voice is a tool; it is the foundation of your craft, your identity, and your power. The one who keeps their voice in top condition at all times, even through subtle or minimal practice, is the one who seizes these moments. There will be days when exhaustion pulls at you, when your voice feels worn down. On those days, touch the voice lightly—perhaps hum, or run through scales quietly. The voice is a living entity, it thrives on consistent engagement, whether through full practice sessions or gentle maintenance. The key lies in always staying connected to it, never letting it grow distant or dormant. Events and offers will come from all directions, sometimes internationally, with little time to rehearse. When they do, the singer who is always in tune with their voice will be the one who rises. You won’t need to scramble because your voice will already be ready. The unprepared wait for the “perfect moment” to practice. The prepared understand that every day is practice—whether grand or small. Master the art of readiness, and no opportunity will catch you off guard. Stay prepared, stay polished, and your voice will be ready at a moment’s notice to meet the demands of any stage, anywhere in the world.

'Music is the most entirely human of the fine arts, and has the fewest analoga in nature. Its first delightfulness is simple accordance with the ear; but it is an associated thing, and recalls the deep emotions of the past with an intellectual sense of proportion. Every human feeling is greater and larger than the exciting cause, – a proof, I think, that man is designed for a higher state of existence; and this is deeply implied in music, in which there is always something more and beyond the immediate expression…Art would or should be the abridgment of nature. Now the fulness of nature is without character, as water is purest when without taste, smell, or colour; but this is the highest, the apex only, – it is not the whole. The object of art is to give the whole ad hominem; hence each step of nature hath its ideal, and hence the possibility of a climax up to the perfect form of a harmonized chaos.' Coleridge, ‘On Poesy or Art’ (Literary Remains, Vol. I) Homilius

A Musical Odyssey Beyond the Thinking Mind In Journeys into Stillness, Eckhart Teachings has teamed with Hemi-Sync® to create a specially tailored program for moving gradually and more easily into Presence. ------- Experience Eckhart Tolle Guided Mediations with Hemi-Sync® Presence, teaches Eckhart Tolle, lies outside of conscious perception and attachments—a pure awareness that underlies everything and is accessible to anyone, anywhere, anytime. However, it is only through the cessation of thought that you can touch into Presence. This is why Eckhart Teachings has teamed with Hemi-Sync® to create Journeys into Stillness, a specially tailored program for moving gradually and more easily into Presence. Using proprietary Hemi-Sync® audio-mastering methods designed to synchronize the brain’s right and left hemispheres, Journeys into Stillness augments more than a dozen of Eckhart’s foundational meditations with binaural music. In this way, these tracks help entrain Eckhart’s lessons and bring you into stronger resonance with the present moment.

Happy Birthday to Coleridge! 'Music is the most entirely human of the fine arts, and has the fewest analoga in nature. Its first delightfulness is simple accordance with the ear; but it is an associated thing, and recalls the deep emotions of the past with an intellectual sense of proportion. Every human feeling is greater and larger than the exciting cause, – a proof, I think, that man is designed for a higher state of existence; and this is deeply implied in music, in which there is always something more and beyond the immediate expression…Art would or should be the abridgment of nature. Now the fulness of nature is without character, as water is purest when without taste, smell, or colour; but this is the highest, the apex only, – it is not the whole. The object of art is to give the whole ad hominem; hence each step of nature hath its ideal, and hence the possibility of a climax up to the perfect form of a harmonized chaos'. Coleridge, ‘On Poesy or Art’ (Literary Remains, Vol. I)

Parts work is all over pop culture; you just have to know where to look. Artists often work through their parts through different artistic identities. With Eminem (one of my favorites), we can see this super clearly. Each of his personas (Marshal Mathers, Eminem, Slim Shady) represents an aspect of his (the actual human at the center of this music) parts. He is working through and validating his experiences, traumas, and emotions by writing them out through these characters as a method of healing. What do you think? Do you want to hear more pop culture references as it relates to therapeutic healing? If you want to hear a detailed dissection of Eminem's artistic parts work, follow my Patreon.

4 April 2024 my walk today spring is here. What is spring for you #touchingtherealinfrastructure »variations on spring and question« [from Wallace Stevens' poems] A mythology reflects its region. That raises the question of the image’s truth Part of the question that is a giant himself: As a quick answer modifies a question, The prologues are over. It is a question, now your question is not honest In a Bad Time It is not a question of captious repartee. The skeleton said it is a question of Should there be a question of returning or Questions Are Remarks But not for him. His question is complete. It is the question of what he is capable. His question is complete because it contains Ill of a question like a malady, Ill of a constant question in his thought, The Ultimate Poem Is Abstract And red, and right. The particular question—here The particular answer to the particular question Is not in point—the question is in point. That question the repetition on the shore, Nor not knowing, yet free from question, Your query for spring matched 70 lines “and there is nothing purely contemplative about this amazing 'musical moment' in the Iliad [book IX lines 182-197] [and I would add: in Beethoven’s ninth in several of my walks and even videos of walks]. “It does not plunge the soul into meditative contemplation, but prepares Achilleus to become and be a better warrior and man in his next battle. Here, music moves the body by stimulating action and reaction.” writes Philippe Grosos: in his L’existence musicale. Essai d’anthropologie phénoménologique; p9 perhaps you jump directly to 59:59 Sonate n° 32 opus 111 Beethoven https://lnkd.in/dbgXmZss what kind of walking do we really need #touchingtherealinfrastructure and triggering our playfully exploring ways to #resist_smarter enjoy your looking for tickets in your favourite concert hall near you for the May 7 2024 200 year celebration of Beethoven's ninth symphony and what Stevens calls music of the “present” ...

"No more art..." by Tony Cokes @tonycokes_ Tony Cokes creates still and moving image works that feature text over multi-chromatic color blocks, usually accompanied by the sound of pop, experimental, industrial, or electronic music. The text fragments are drawn from speeches, lyrics, and other writing by politicians, comedians, and cultural theorists and address wide-ranging subject matter from racism to the notion of evil and megalomania. In a media-saturated culture whereby visibility is incessantly pursued, Cokes is interested in the practice of non-visibility, which moves away from the singular, iconic image and hyper-spectacle to a state of attentive awareness and fluid imagination. In the artist's words, "non-visibility" is a "strategic withdrawal, or evasion of the mistaken identity that is certainty."

𝒅𝒖𝒍𝒄𝒆𝒕 (𝒂𝒅𝒋𝒆𝒄𝒕𝒊𝒗𝒆) : pleasing to the ear (e.g., dulcet tones) : sweet to the taste : generally pleasing or agreeable (e.g., a dulcet smile) Some of the most 𝒅𝒖𝒍𝒄𝒆𝒕 tones in American folk music are said to come from the 𝒅𝒖𝒍𝒄𝒊𝒎𝒆𝒓, a fretted stringed instrument traditionally played on the lap and integral to the work of such sweet-voiced musicians and song collectors as Jean Ritchie, Loraine Wyman, and Margaret MacArthur. The essence of 𝒅𝒖𝒍𝒄𝒆𝒕, after all, is sweetness; the word has been in use in English since the 1400s describing not only desserts and other confections that are pleasing for their literal sweetness, but figuratively sweet things such as smiles and even balmy weather. 𝑫𝒖𝒍𝒄𝒆𝒕 is today used most often, however, to describe sounds, including melodies, voices, and especially tones with a notably honeyed quality. Fittingly, 𝒅𝒖𝒍𝒄𝒆𝒕 comes from the Latin word for “sweet,” 𝒅𝒖𝒍𝒄𝒊𝒔, an ancestor of many musical English words, including the musical direction 𝒅𝒐𝒍𝒄𝒆 (“to be played sweetly”), 𝑫𝒖𝒍𝒄𝒊𝒂𝒏𝒂 (a type of pipe organ stop made up of flue pipes), 𝒅𝒐𝒍𝒄𝒊𝒂𝒏 (a small bassoon-like instrument used in the 16th and 17th centuries), and, of course, 𝒅𝒖𝒍𝒄𝒊𝒎𝒆𝒓. On a similar note, the word 𝒅𝒖𝒍𝒄𝒊𝒇𝒚 means “to make sweet,” and the adjective 𝒅𝒐𝒖𝒙, derived from Old French 𝒅𝒐𝒖𝒛, is used in wine circles to describe champagne that is sweet. [Merriam-Webster] 𝑭𝒆𝒂𝒕𝒖𝒓𝒆𝒅 𝑨𝒓𝒕𝒊𝒔𝒕: Wassily Kandinsky (Moscow, 1866 — Neuilly-sur-Seine, France, 1944), “The Dulcimer Player” (Dulcimerspieler), linocut, 1907 #mydictionary #words #dulcet #etymologicalstories #etymology #lexicography #lifelonglearning #learninganddevelopment #artbasedlearning #artforthemind #kandinsky #visualstorytelling #dulcimer #illustrateddictionary #alternativelearning #learningreimagined