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Major New Scientific Study Says That Global Warming Is 'Natural'


sun_tour.jpg picture by joejitsu29
A major study, via three American universities, says that 'Man-Made Global Warming' is bogus, as the evidence incontrovertibly shows that the entire Solar System is heating up. The study also calls attempts to reduce CO2 and other green-house gases, "pointless". The study appears in December's issue of the 'International Journal of Climatology of the Royal Meteorological Society'.

If the Earth was getting hotter because of the build-up of greenhouse gases, and not because of the Sun, there'd be a temperature increase in the Troposphere, five to ten miles up from the surface. However, the scientific data shows no increase there whatsoever.
stratosphere-troposphere.jpg picture by joejitsu29

Al Gore says that CO2 makes the Earth hotter (as it traps in sunlight), and that we're now seeing unprecedented levels (300 Parts Per Million). But if we look at the ice-core records from Antarctica, which record Earth's temperature and CO2 history, we see levels of CO2 that were ten times higher than the current ones. Ten times higher than 300 Parts Per Million! What disproves Gore, the wanna-be-scientist and New World Order stooge, is the fact that when that massive increase took place, the temperature did not rise. So let's get this crystal clear: there's no smoking-gun correlation between CO2 and temperature! Mr. Gore fooled everybody by putting those two graphs beside each other, but notice how he didn't superimpose them, because if he did, they wouldn't have fit. (Watch this short video where real climate scientists debunk Al Gore's CO2-temperature-link).

"Anyone who goes around and says that carbon dioxide is responsible for most of the warming in the 2oth Century hasn't looked at the basic numbers". - Professor Patrick Michaels (IPPC Member/Department of Environmental Science at the University of Virginia)

The 1998 hot record has not been surpassed, and even though carbon dioxide continues to accumulate (up 4 percent since 1998), the global mean temperature has remained flat. This punches some glaring holes in the theory that CO2 causes climate change. The world is not getting hotter, in fact, 2007 was a record year of cold all over the Southern Hemisphere: South Africa experienced its first snow-fall in 25 years, Australia had the coldest June in memory, Peru declared a state-of-emergency after the cold killed over a hundred people, and in Buenos Aires, it snowed for the first time in 89 years (see this article).  Strangest of all, it snowed in Baghdad this week for the first time in 100 years. 

Thanks to the mass-media's one-sided presentation of the Global Warming debate, a huge amount of damage has been done. The good news, however, is that the 'Man-made Global Warming' dissenters now have the majority within the scientific community, and the data to back themselves up- it's just a matter of getting the 'real science' back into the public sphere, before it's too late. Last month, John Coleman, prominent meteorologist and founder of the 'Weather Channel' said: "in a decade or two, the outrageous scam will be obvious".

A new report issued by the 'U.S Senate Environment and Public Works Committee' says that in 2007 over 400 prominent scientists from more than two dozen countries voiced big-time objections against 'Man-made Global Warming'. These scientists, many of whom are current and former members of the U.N's IPCC (Intergovernmental Panel on Climate Change) heavily criticized the claims made by the U.N and Al Gore.  Go here to read the entire report.

To fight 'Man-Made Global Warming', the U.N and Al Gore are pushing for the implementation of a world-wide carbon tax. Essentially, this would be a tax on plant-food. MIT climate scientist Dr. Richard Lindzen has repeatedly warned, "controlling carbon is a bureaucrat's dream. If you control carbon, you control life". The tax would generate billions of dollars every year for the U.N's "Multilateral Adaptation Fund", lower the standard-of-living for everyone on the planet, stagnate the development of the 3rd world, and roll in the first phase of the elite's desired world-government by creating a legally binding form of financial slavery upon all signatory countries. In 1999, French President Jacques Chirac said the Kyoto Protocol represented "the first component of an authentic global governance". If you want more details as to why the elite are pushing the 'Man-made Global Warming' agenda as a mechanism for achieving world-government, check out this important article.

corporateFascism.gif picture by joejitsu29

In regards to the U.N's recent climate-change summit, it seems that they're bastard-hypocrites indeed. They clamor that they want to reduce emissions, yet hold their recent pow-wow on an island resort in the middle of nowhere. Fortunately, A. Runge-Metzger, head of climate strategy for the European Commission had the nerve to say at the conference: ''it's very hard for the public to understand that you come together with so many people to a very distant place and cause a lot of emissions, and at the same time talk about emission reductions''.

The U.N's IPCC
has been mired in controversy this year after it released a huge report on climate-change that claimed to have the backing of a roster of scientists- when in fact, many of the names were illegitimately added. Several top scientists that the IPCC said supported the report, then went on to refute it.

"The IPCC review process is totally flawed. … The scientific basis for the Kyoto Protocol is grossly inadequate.” - Dr. Hendrik Tennekes, Director Emeritus of the Royal Meteorological Institute of the Netherlands (2005)

Presidential Candidate Ron Paul slammed the 'Man-made Global Warming' alarmists this week by saying, "people think that Greenland is going to be gone in 20 years - I don't buy into that" - Paul told t.v host Layla Kayleigh, who used to work for Al Gore's network. Asked about the "glaciers melting", Paul responded, "they can find just as many places where the ice is building up - in Greenland, in Antarctica"
. Many recent studies have confirmed that Greenland's interior ice-sheet is growing, while its edges break off, as usual.

If you want to know the real correlation between temperature and CO2 (which Al Gore got ass-backwards), check out my blog 'Man-Made Global Warming Is A Scam'.

'Over 100 Prominent Scientists Challenge UN Move For Global Carbon Tax'

The U.K's 'Telegraph': 'The Deceit Behind Global Warming'

'Growing Number of Scientists Convert to Skeptics After Reviewing New Research'

'Climate of Fear' (from the Wall St. Journal)

'Czech President Calls Man-Made Global Warming a Myth'

'Explosion of the Fear-mongers: The Green-housers Strike Back and Out'


Pope Condemns Climate Change Prophets of Doom









Global Warming, the N.A.U, and Chem-trails.

Man-Made Global Warming is a Hoax!
gore.jpg picture by joejitsu29

Since the Global Warming hype is reaching a feverish crescendo, I can't help but gnash my teeth. First off, the media does not show the subject in a critical vein whatsoever. Nope, everything is laced with apocalyptic themes. "Act now, or we'll all die etc." Though the BBC did an amazing deconstruction of Al Gore's bullshit video ('The Great Global Warming Swindle'), children are being shown the film in schools across the world as if it's a fact; replete with images of drowning polar bears (when we know that they can swim up to 300 miles, and new studies show that they're thriving.

I strongly advise everyone to see 'Global Warming or Global Governance'.

First off, the founder of the Weather Channel called it, "The greatest scam in History".
Second, some may say, 'opponents of Man-made Global Warming are funded by big-oil'. If that's the case, then why are the biggest oil-tycoons on the planet pushing the Man-made Global Warming agenda?


This has nothing to do with saving the environment; it's all about instituting a global carbon tax that will line the pockets of the elite,
as well as destroy the last vestiges of nation-state sovereignty. You think I am full of it? I dare you to go research it.

Last year, sixty scientists delivered a letter to Stephen Harper, and it said plain and simple: 'there is no consensus regarding Man-Made Global Warming'- though were told this repeatedly by the U.N's Environmental Panel . The documents put out by the U.N are frauds. They illegitimately put scientists names on the roster as if they support the conclusions, when in fact they don't. If you ask any scientist if Global Warming is caused by Man, over half will say no!. This year, more and more explosive evidence is coming out that debunks Al Gore and all his fanatics to shit.


Here are some main points that current research is showing:

- NASA and the European Space Agency are saying that Mars' ice caps are melting at an unprecedented rate, as well as some of Jupiter's and Saturn's moons- which used to be solid ice, and are now becoming liquid seas. Pluto, whose current orbit is taking it further from the Sun, is also undergoing Global Warming.  What do SUV's and greenhouse gases have to do with them? Nothing! The entire Solar System is experiencing an influx of heating, and it's because of the Sun. The Sun is the engine driving this thing, not Mankind.

- Al Gore tries to show a causal connection between temp. and CO2. He says that CO2 levels rise, which then causes temp. to increase. Actually, he's got it completely ass-backwards. It's the reverse! Here's how it works: temp. goes up, which then warms the oceans and causes all the plankton to release tons of carbon into the atmosphere. Rising CO2 levels lag behind temp. increases by 800 years.

- He uses the famous 'Hockey Stick graph' in his film, where we see temperature and CO2 rising to unprecedented levels during the 20th Century. First, that graph is wrong and has been discredited! Ice Core samples from Antarctica are showing us something very different, namely, that from 850 until 1250 AD. we had a hot-as-hell period, as well as 5000 and 9000 years ago (when the Neolithic Revolution began and Mankind started getting into agriculture). This was all before cars and emissions. The heating cycle is natural! Al Gore purposely left the Medieval warming period in the Middle Ages out of his film (how else were the Vikings able to settle and grow crops on Greenland?!). To put it succinctly: the Earth heats up now and then because of sun spots on the Sun, and cools because of solar radiation from super-nova stars hitting the Earth.

- Gore says that Greenland's ice is melting, when it's actually increasing. In the 1940's, a squadron of British bombers had to make an emergency landing on Greenland. Recently, a team of people went there to try and find them. Where were they? Under 265 feet of ice. Greenland's ice is expanding, but the edges break off, as usual.

- If you go back to some of the cover stories of publications like Time Magazine and Life and the New York Times in the 1970's, you can see them shrieking about an impending dooms-day ice-age. Those people were fear-mongering us then for political reasons, why believe them now?

- "Global Warming causes more storms and hurricanes". This is a joke to our intelligence, cause we all know that storms and severe weather are caused from the collision of cold and hot forces. If the world was getting hotter, we would actually have less storms and hurricanes.

- My last point, and this pisses me off. The eschatological alarmists say that we need to tax CO2, as if it's harming the planet. They are on crack; CO2 is a life gas! You ever been to a greenhouse? It's full of high-levels of CO2, which make plants and vegetables and flora and fauna thrive. We now know from the ice core record that during the Neolithic Revolution, 9000 years ago, CO2 levels were way higher than now. People all over the world were growing agriculture, and in places that they previously couldn't. Our present CO2 levels could increase by almost 500%, and that would actually cause a boon in food production.

Conclusion

Plain and simple, the global elite want to tax the most precious life giving gas our world has ever known. Why? To make billions, to keep the 3rd world down, to set up a new treaty that will override the sovereignty of every nation on the planet, and to potentially (in the worst case scenario) tax us for even breathing. Don't get me wrong, I want to protect the environment, but the real issues facing Mankind are deforestation, chem-trails, pollutants, renewable energies, toxins in the oceans, and genetically modified foods. Wake up! It's getting out of hand. Look at the UK! They now have a task force going into people's houses unannounced to see if they're using the proper light bulbs! This is all about money and power, so do your own research, and get off this alarmist bandwagon and inject some critical thinking back into the debate before it's too late.

(Court Challenge For Screening of Gore Film):


'Consensus Shattered As Major Scientific Study Says Global Warming Is Natural'

'An article by the U.K's 'Telegraph': ''The Deceit Behind Global Warming'

'Ron Paul Slams Global Warming "Fearmongering"'

'Man-made Global Warming Hot Air'

'Scientists who are skeptical About Gore's 'Truth'

Xian Journals

Xian Journals: 2004 - 2006

The Streets

"The street.....the only valid field of experience" - Anton Brecht

The first day I hit the streets? What a head-fuck. Standing at that corner, frozen to the spot, I thought, “here flow a billion fish, indeed”. Like immutable laws, these intersections are everywhere, as if trying to create an illusion of order. But when the light turns green, a flood of chaos is unleashed. The noise is frightening, the pollution is sick, and without a doubt, these bus-drivers could be the worst on Earth (they don’t gaze peripherally, just straight ahead like vacuous automatons). Directly in the middle of Xian lies the one thousand year old Bell Tower, and four streets, running North, West, East and South, converge into it. Ironic how you have to navigate through paths of decadent, consumer-mania to get to the city’s historical heart. Away from the downtown core, there are less shops, but more street vendors, and on most days, it’s a maddening throng: hawkers rambling through megaphones, cookers frying anything from crabs on sticks to shit-smelling Chou Dofu, beggars harassing, thieves thieving, motor-bike men trying like hookers to get you to ride- and weaving throughout, like an indelible blood-stream, the Chinese horde, the Army of Suits.


The Army of Suits

They all look the same, replica clothes, faces, cell phones perpetually at their heads, smoking away. Even the rich ones that can afford a car all buy the same one: a black Audi with tinted windows. No one dares to be different, the level of conformity is mind-boggling. I went to an English corner once, to chat with some University students, and they were amazed at my hairdo- I had a Mohawk then- and my boisterous, funny-man persona. The discussion quickly turned to ‘individualism’, to which they said, “we’re all copy-cats”. Here, people twist and conform to tradition, so individuality doesn’t ring out like it does in the West. North America’s history goes back only three hundred years, and when it began, it was a cataclysmic break with the Old World- no wonder we were all high on expressive dissonance. But the Chinese got five thousand years trailing behind, like an onerous anchor holding the ego in check.


The Night of Fires

Fours days ago, I was walking home from work with a friend, and as we turned onto the road leading down to my apartment, I was struck silent. Scattered along the sidewalk, as far as the eye could see, lay these little bonfires. These are vigils for dead relatives” she whispered. You get cardboard, a money-book, a lump of charcoal, and then you trace a circle upon the ground, burning it all within. As the flame flickers, you murmur to the dead, telling them that you’ve brought symbolic offerings. The image of all these fires, with everyone tenderly dropping paper onto red-teeth, absolutely shivers me.


A New Era of Idolatry

If the people have become more tight-lipped regarding China’s ideology, than the streets sure haven’t. Turn onto any main road, and guaranteed, you’ll see enough advertising that’ll make your eyes vomit. I once asked her: “do young people ever talk about politics?”- and she replied: “most are just concerned about the latest fashions, only the older generation talk about stuff like that”. If there’s a pinch of truth to the idea that awareness amongst the young ferments change, than China has never been further from revolution. Call it what you want, ‘Communist’, ‘Capitalist’, ‘quasi-Capitalist’- people still live under totalitarian principles. You see, you know, what they want you to know. If I type in ‘Tiananmen Square’ from a search engine, I get nothing. And if I try and access certain websites that are critical to the government, like the BBC World News, I’m blocked. But it’s only these little things that remind me I’m living in an Orwellian ant-farm, and most times, I forget. Just taking in all the advertising and shopping malls, the McDonald's and KFC’s, lulls me into thinking that I’m living in some liberal-capitalist state, and that I lead a life like any consumer of the West. Shit, if I’m prone to these temporary delusions, think of someone born here? Yep, China is changing, and Mao, the great, omniscient leader, is probably puking in his grave. Sure, corporations are flourishing, but they’re poisoning the environment at a rate that would make even a bear stop shitting in the woods. If the government doesn’t do something fast, choose air and soil over the idolatry of coin, Eliot’s ‘Wasteland’ will become more than a poem, more like Chinese prophecy. “How long will Communism last?” I asked her, and without blinking an eye she answered, “maybe one hundred years”.

The Tomb

I went to the tomb of the Emperor Han, and inside, near his sarcophagus, sat this massive, miniature model of ancient China, and glittering gems, shining like faint galaxies, were encrusted to the ceiling. When he died, his nine wives were buried alive with him. The most valuable part is still sealed though, and won’t be opened until the technology permits it (they don’t want the air destroying anything timeless). Historical records say that lakes of mercury and thousands of candles await within. Supposedly, these candles, made from the fat of some sea-snake, can burn away oxygen free for a thousand years. Imagine that sight? Shimmering lakes of mercury with fireflies dancing atop.


Day 1

3am: I couldn’t sleep, so I awoke and started unpacking. My apartment could be worse. The floor, marble, the toilet, however, requires squatting. Lovely. I share it with an American named Anthony. He’s out of town on some trip with the school, so I’ve yet to meet him. The trip? Wired with nerves, I just gazed at the ocean below. When we hit Russia, the view was spectacular, no towns or cities, just miles of breathtaking countryside. The plane’s shadow streaking across the landscape made me think of Dr. Strangelove. From the air, China was ochre and mountainous; it took twenty minutes just to fly over Beijing, and wherever I looked, construction greeted me (the magnitude of the 2008 Olympics is quite evident). Upon landing, the sun disappeared, replaced by this hazy, yellowish film, and at baggage, I started panicking when my guitar didn’t surface. Asking for help was a nightmare, I couldn’t understand what they were saying, and when I resorted to pantomime, the Great Wall kicked me in the junk. Surmounting this edifice, this language barrier, shall prove exquisitely difficult. Everywhere, I see the effects of the ‘one-child policy’. While waiting at my Xian gate, a kid saluted me with his can of coke. I returned the gesture, and he laughed and told his parents. Kids are great here, they’re not withdrawn like all the adults seem to be. I’ve been trying to acclimatize myself to the sounds of Mandarin, but too no avail; it’s hard distinguishing where words even begin and end. People are rude as hell, they stare and budge as if it’s entrenched, noon-tea etiquette. Truly, I’m an outsider, but it feels exhilarating. When my taxi pulled into Xian, the China that I’ve always imagined hit me like a wave: chaotic traffic, smoky shops, vendors, packs of cyclists, and a ubiquitous military presence. To get into the downtown core, I had to pass under the City Wall, a 1200 year old remnant of the Han dynasty, and when I arrived at my apartment, a crowd were gathered near the foyer, watching some musicians: a flute, a drum, a strange violin, and an old woman belting out some ghastly melody. Sitting on crates, the air smoky, shadows splayed across the walls, surreal indeed. Before drifting off, I lay in bed, clearly hearing them from the twelfth floor.


Chou Dofu


Chou Dofu is a type of tofu, cooked in gas woks by street cookers, deep-fried until it shimmers a charming brown. Billions of Chinese adore it, they gush that it’s absolutely delicious, but I can't support those claims; I‘ve never tried it. Why is that? Ah, how do I put this?...because it smells like shit! Imagine the smell of shit, multiply that by ten, then imagine it securely compacted within a spatial radius- now you've got an idea of what it's like strolling the streets of Xian: always on the lookout for an invisible, shit-ambush. Usually, one's nose becomes accustomed to smells over time (I've gotten used to the garbage taint on most streets), but I’m telling you every time I smell that smell it’s as if I'm straight from the womb. When
strolling by the cookers, I have to cover my nose, and most times the patrons nudge their friends to say with an air of cultural pride, "hey, look at that foreigner, he can't take the smell". But seriously, why mock me? - It smells like shit! Indulge my reminiscing. Let's go back in time to the guy that invented the seasoning, sure, it supposedly tastes great, but he had yet to discover that. He had to go against his nose-radar, screaming out that shit stood before him. But try it he did, so I guess he’s a hero of sorts, the 'man who swallowed the bitter truth', 'who ate it for the people'- three cheers for China's patron-saint. Seriously, the stuff smells like shit, so China, if you want world superiority, then you gotta' consider harnessing its powers for other means. Imagine a nuke with a 50-megaton yield of uranium incinerated Chou Dofu? ! So, I’m warning you, if you come to China and smell a smell when walking down the street that would logically spur you to think: “man, that's some nasty foul shit on the sidewalk, probably left by a dog with Ebola”- it’s actually a traditional snack being cooked up much too the Elysian-delight of the people.


Life in Xian

Xian is like one giant sidewalk sale. Everywhere you look, there are people selling stuff, anything from pirated DVD’s and CD’s, to vegetable peelers and artwork. The street food is dirt cheap, and most of it’s delicious, aside from the dreaded, shit-smelling Chou Dofu. The most crucial illumination of Xian? It's not very clean. But the government tries in many ways. In faith with the good ol’ Communist doctrine that everyone should work, you can see these guys with red vests walking around, picking up trash, sweeping with giant, straw brooms. Since all of the trucks used to transport the waste are foul, polluting beasts, the solution only makes things worse. Recently, a foreigner that I know told me that Xian’s air was voted 'the worst in the world' by the U.N. I doubt that that’s true, but it is bad. The city can sometimes get shrouded over by “a yellow fog that rubs its back upon the windowpanes”, and unlike Canada’s sun, where you don’t actually see its edges, only a luminous blur, the pollutants here dim it, transforming it into a clearly demarcated, bloody sphere. Some days, I make my students go to the window and drink in the breathtaking sight of their setting sun, huge, shimmering, blood-red, telling them that it’s more beautiful than the one I’ve got back home.

There are about 55 different ethnic groups living in China. The largest are the Hans, the traditional majority, and second, the Muslims. They make up about 15% of the total population. Tolerance to the Muslim faith appears to be warm. They’ve been in China for centuries, and it’s quite common for someone to be related or married to one. Christianity, however, is much more recent, foreign, alien. The government has relaxed many of its policies towards it, but they still are stringent. You can only go to public churches, any private bible-study groups are absolutely prohibited. And of course, this has nothing to do with the introduction of metaphysical beliefs, and more about keeping an eye on your citizens. Cabals have sown the seeds of every revolution since time immemorial. When I first got here, I had to sign these papers that said I was to never engage in any religious or political discussions with my coworkers, and similarly, they had to sign something that said they were to defend China if they were to ever hear me bad-mouthing it. Hasn’t worked though, me and some coworkers talk politics all the time. One time, while in the cafeteria lunch-line, a Chinese friend said, “fuck the government, they’re all corrupt bastards”. I remember hearing about this American girl that was deported 3 months ago because she was recruiting people for her bible group; and how can I forget the two Australian teachers that were working at my school before me? Apparently, these guys were baptizing people in their bathtub. Crazy bastards. Let’s look at how the government treats a Muslim: if they commit murder, they go to jail for life, whereas, if a Han commits murder, they’re killed by the State. They’re also held to lower standards when entering Universities, and receive more pay when joining the Army or Civil Service. Xian has the largest Muslim demographic in all of China. Muslim food is great. First, they don’t eat pork, and neither do a lot of the foreigners, second, they steam their vegetables, which keep all the nutrients in, and third, their restaurants are cleaner than your average Han’s. After work, I usually go to this place by my house to get these wicked noodles; honestly, they’re not what you’d expect noodles to taste like, more like a pasta, and they only cost eighty cents Canadian.

A huge majority love the government, and see its goals and principles as worthy. Most see the West as decadent, lacking in culture, and in some ways, they’re right. They have an ancient culture to sustain themselves on the sea of suffering, whereas, we have our cloned, Post-Modern culture of Non-culture. I’m telling you though, these people are smarter than your average Westerner, and when a billion ants finally get organized, watch out. Within ten years, a huge majority will be speaking English, and not only will they be more strategically aligned with Russia, they’ll have the entire world-market in their grasp. It’s only a matter of time before China overtakes the U.S; every year, they make massive gains, while America drowns deeper in debt. Aside from the predicted prosperity, living ‘inside the box’ still applies here. When I mention Tiananmen Square to someone, they don’t know how to respond. I saw more as an eleven year old child glued to the T.V.


The old men, doing their morning sword-play by the river, enchant.

God is the Word

God is the Word

Note: This is not an analysis; it's pure textual experimentation.

"Since the signifier was invented things have not sorted themselves out, as the obsession with interpretation has sent readers off in all directions looking for secret, hidden meanings. ‘Signification’ and ‘Interpretosis’ (the obsessive-compulsive deciphering of hidden meaning) are the two diseases of the Earth-the pair of despot and priest. The antidote? Never interpret, experiment”- Gilles Deleuze.

Interpretation brings more interpretations. Yep, there'll never be a final word, unless of course, God gives the Final Word and ends Time. Nope, it wasn’t the apple that condemned us, it was Him teaching Adam how to speak, to name the animals; and the tree didn’t give knowledge, nope, it gave Interpretosis. But God truly fucked us when He pulled down the tower of Babel, scattered mankind, and split the single language into a plethora. Yep, because He saw Babel rising like a spire to Heaven, He divided and confused us. But why? He seems playful, twitchy...

In a swamp now full of different tongues, Mankind contracts the incurable malaise of 'lost in translation', and compounded with our Interpretosis, every man found himself irrevocably infused with the desire to see the world differently than his fellow man. The result?: competing theories, ideas, metaphysical doctrines and ideologies-all of them, condemned to a diaphanous field of neutrality. In short: no one interpretation could ever now gain the upper hand, could ever acquire epistemic superiority. Nope, from a crevice or crack any interpretation can be reinterpreted anew, thanks to the seeds of differénce sown within language, and the itch of Interpretosis laced within us.

And what a perfect symbolic image He gives when He rips down Babel!: for He deconstructs a structure aspiring to be a transcendental sub-structure, a universal signifier; dismantles a matrix of thought striving to synthesize all things under one rubric of Truth. And He doesn't just create the irreducible multiplicity of tongues, of perspectives, no, the symbolism of His deconstruction exhibits the impossibility of ever finishing, totalizing, something. Gotta' thank God here, for He shows us something that would take philosophers and System-idolaters thousands of years to recognize (Hegel being the last): namely, that Reason can never penetrate Heaven (synthesize the kinks and quarks within the Word(s) meaning), never attain a 'God's-eye-view', a meta-'explication du texte'.

These chain of events were the catalyst for every bloody, calamitous war that the world had yet to see- for wars of ideas make for wars of the flesh. Yes, there was a Fall, and it happened the day He taught us the Word(s), the day He taught us to be like Him, for, “In the Beginning there was the Word, and the Word was in God, and God was the Word”- Genesis. How to interpret this quote?: easy, God is language, the essential, incarnate possibility of capturing and conveying things. He gives existence because He is the Word, and the World is only possible because of Word(s), for they alone give things meaning, hence, an existence. Yes, to name things is a divine power; the means to shake the Universe. But within language there exists an ineradicable element of differénce, an indelible possibility that something will always mean something else to someone else (thanks to the ghostly trace of signification seeping within and without Word(s)).

So what does this point to, besides chaos and strife?: God is a schizophrenic. Ah, poor bastard, at war with Himself, and His very nature ferments this. 

In plain sight, the first clue was there: “And God taught Adam to name the animals”. Yep, He taught us how to speak, and then, from that lovely apple, we contracted Interpretosis. To top it off, just when it seemed that Mankind could unite under a common interpretation, which is Babel's upward symbolism, and feasible if everyone drinks from the same well-spring of signification, He splits the one language into many, creating, until the end of Time, a scourge of differénce. Now things can always mean something else, slippage becomes the norm. Yep, God is a schizophrenic, but He can't help it, for within the seeds of His essence, within the Word, there exists a nebulous cluster of Him and Him and Him, and never stopping, for within the Word, within the network of language, there lies an infinite, bottomless Void: there’s no foundation for any Word(s) meaning, look up a Word in the dictionary, and you'll find its meaning refering you to other Word(s), and those to others, and this element of trace goes on and on, never stopping...

This is why any religion that sees God as the Word is doomed to deconstruction- well, only if they see Him as All-Good, which the three main faiths do. Nope, if He is the Word, than He cannot be All-Good, for within His very nature, within the Word, lies multiplicity and differénce. God is as Evil as He is Good (if He was Good) therefore He is a schizophrenic, but it isn’t His fault, for He's the Word.

In Genesis it says that 'Babel' means 'confusion', but actually, 'Ba' signifies 'father' (in the Oriental tongues), and 'Bel' signifies 'God', so 'Babel' means 'The City of God', or 'The Tower of God'. There's no doubt that confusion set in after He split the one language, but the real meaning of the myth, disclosed if we take Babel to mean 'The Tower of God', is that God deconstructed Himself, deconstructed the Word, exposed the differential twitch within language by demarcating Reason's limits in the search for the reasons in meaning. Babel's symbolism babbles up schizophrenia, but then again, wouldn't that make us all schizophrenics, for He made us in His image, did He not? The question then becomes: "have we realized this?"- and of course we have, for in this Post-modern era, thanks to Post-structuralism, faith in the Word, in the reliability of language, has perished. So what do we do now, in the rubble of Babel? "Experiment, never interpret"- which means interpret, but without the thirst for the Final Word, for the ultimate explication du texte. Got it?


Guestbook

May darkness and light fill you with life.

20th Century Classical Composers

20th Century Classical Composers Pt. 1


I’m going to try to brainwash you into liking classical music. If you already do, great! -I’ll pick ya’ up at eight in my Ark. I know that when I first got into classical music I didn’t know where to start, just the Big Three (Bach, Beethoven, Mozart), but the real gems, usually overlooked, are from the 2oth century. So here are some of my favourite composers of the Modern/Post-Modern era and a breakdown of their styles.

Debussy (1862-1918)

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One of the most original musical voices of the 20th century, with a revolutionary sense of instrumental colour and a fleeting, atmospheric sound world, Debussy is an 'Impressionistic' composer.

Impressionism?

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A musical style that paralleled new ideas in art (where all formal rules of form and perspective shifted from the ‘objective’ to the ‘subjective’ (Cezanne, Monet, Manet)), Impressionistic music has chords merging in and out of each other like tonal clouds, giving a dreamy/watery effect. This harmonic undulation and blending makes time seem entirely absent.

Debussy: “Collect impressions. Don’t be in a hurry to write them down. Because that’s something music can do better than painting: it can centralise variations of colour and light within a single picture - a truth generally ignored, obvious as it is.".

Debussy's early works show a desire to break away from the constraints of Western harmony and form, especially his Prelude a l’Apres-midi d’un faune, which departed from all traditional notions of structural development. The Symbolist poets Rimbaud, Mallarmé, Verlaine, heavily influenced Debussy with their concern for sound and abstract meaning. His interest in the exquisite and sensual eventually led him to the music of other cultures. A cataclysmic event was the Paris Exhibition of 1889, where Debussy first encountered the music of the Indonesian gamelan orchestra. The different scales, as well as the floating qualities of form and rhythm, found their way into his piano music.

Check out: Prelude a l’Apres-midi d’un faune - Pierre Boulez once remarked that "just as modern poetry took root in certain of Baudelaires's poems, so one is justified in saying that modern music was awakened by Prelude a l’Apres-midi d’un faune". Debussy based this composition upon a poem of the same name by Mallarmé and, like the poem, the music works by suggestion rather than statement. A trance-like flute theme opens the work, establishing a languid atmosphere that is then extended by some marvelouslly deft and harmonically innovative writing for woodwind.

Nocturnes - A bunch of Monet paintings on sonic steroids, these three Nocturnes feature some of Debussy's most imaginative orchestral writing. Untypically, he provided an explanatory note to the set: "The title Nocturnes is....not meant to designate the usual form of a nocturne, but rather all the various impressions and the special effects of light that the word suggests. 'Nuages' renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. 'Fetes' gives us the vibrating atmosphere with sudden flashes of light. The background remains persistently the same: a festival, with its blending of music and luminous dust, participating in the cosmic rhythm. 'Sirenes' depicts the sea and its countless rhythms and presently, among the waves silvered by the moonlight, is heard the mysterious song of the sirens as they laugh and pass on".

Images -

Etudes that take the piano into a completely new realm, Debussy's two sets of 'Images' are musical homages to pure sensation, conjuring the sound of bells through leaves, sunlight reflected from the scales of goldfish, and a mulitude of other transient moments (think of these as the musical equivalent to Rimbaud's breakthrough poems 'Illuminations'). However, these Images require a degree of patience, their dynamic levels are generally very low, this is not typical music, more like aural landscapes. Whatever you do, don't reject them on first listen, these miniatures are among the richest of all piano works.

Ravel (1875-1937)

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French composer who absorbed influences from classical to jazz, Ravel’s style is a meticulous craftsman-like elegance and a masterful use of instrumental colour. He is renowned for his glittering motifs and his virtuoso piano writing.

Along with Debussy, Ravel is one of the most influential composers of the early 20th century. There are some important similarities in their music: both used rich harmonies and new scales that are usually associated with musical impressionism, and both had a taste for the exotic, but whereas Debussy was a sensualist, influenced by the Symbolist movements, Ravel was more of a traditionalist, creating a style that was almost Neo-Classical. Ravel’s piano music is deadly stuff, fit only for virtuosos.

Check out:

Gaspard de la Nuit - Dark and utterly complex, this is the greatest piano piece of the twentieth century: a set of three ferocious and morbid pieces derived from the macabre prose-ballads of Aloysius Bertrand. With its washes of tonal colours and gunfire-rapid repeated notes (a hallmark of Ravel's style), Gaspard is a barnstorming addition to the Lisztian repertoire, particularily remarkable for the way in which the overall texture is often made up of clearly delineated and individual strands of sound. The second movement is the sound of a dead man hanging from his noose, swaying in the wind.

Piano Concerto in G - The second movement’s piano and violin make me weep. This concerto is deeply infused with the idioms of jazz, and its the combinations of these opposites that make it so surreal.

String Quartet in F - Wicked, plain ol’ wicked. The opening riff of the 2nd movement would make a great guitar song. When Debussy first heard it he wrote to Ravel saying: "in the name of God, you must not tamper with this string quartet!".

Piano Concerto in D (for the left hand) - The famous concert pianist Paul Wiitgenstein, brother to the philosopher Ludwig Wittgenstein, commisioned Ravel to write him a piece for the left hand cause his arm was blown off in WW1. The astonishing achievment of this piece is that it is never apparent to the listener that just one hand is being used, such is the complete integrity of the solo part.  It's one of the most serious of Ravel's works, permeated by a hard-driven energy and a sense of anxiety that borders on the tragic.

Stravinsky (1882-1971)

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Stravinsky is the epitome of modernism, the musical Picasso. His highly original music, passing through various phases that included early Russian and French-influenced works, Neo-Classicism, and finally the use of his own form of serial technique, defy comparison.

Stravinsky: "Consonance says the dictionary, is the combination of several tones into a harmonic unit. Dissonance results from the deranging of this harmony by the addition of tones foreign to it. One must admit that all this is not clear. Ever since it appeared in our vocabulary, the word 'dissonance' has carried with it a certain odour of sinfulness. Let us light our lantern: in textbook language, dissonance is an element of transition, a complex or interval of tones that is not complete in itself and that must be resolved to the ear's satisfaction into a perfect consonance."

Stravinsky is considered something of a revolutionary, thanks to the 'warm reception' 'The Rite of Spring' endured at its Parisian Premiere in 1912. The first note of the piece was played on the high register of an oboe (no one had never done that before). The screams of abuse started up, Debussy pleaded with them to shut up, and amidst sprouting fist-fights Ravel was shouting "genius, genuis". Within 2o minutes the theatre had burnt to the ground.

Stravinsky's career suggests more evolution than revolution though. By The Rite of Spring, Stravinsky had broken new ground entirely, writing in a complex rhythmic and harmonic style that included the use of polytonality. Late in his life, Stravinsky once more changed styles, embracing the methods of twelve-tone serial composition.

Check out:

The Rite of Spring - Written for a huge orchestra, this is the greatest piece of the 20th century. It's unrelenting, barbaric disonances and asymmetrical rhythms jolt the listener from beginning to end. Gorgeous and explosive, the violins create the thumping, irregular pulse as time signatures change in every friggin' bar! I hope they play this at my funeral.

Berg (1885-1935)


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Austrian composer and member of the "Second Viennese School", Berg applied a freer, more lyrical and expressive approach to atonal and twelve-note music.

Alban Berg, with Anton Webern and their teacher Arnold Schoenberg, together make up the group of composers known as the “Second Viennese School”. The technical compositional systems developed by Schoenberg (12 tone serialism), a logical extension of Wagnerian chromaticism, had a profound effect on the course of music throughout the century, as traditional tonalities and keys were seemingly abandoned, dissonances embraced, and principles of musical unity broken into a new language. Berg's music demonstrates better than any other does the individual expressive qualities possible within the highly structured style developed by serialism. Even when writing in a pure twelve-tone style, Berg employs a lyrical and harmonic language that hearkens back to the late romantic style of Mahler. For this reason, he is the most easily approached composer of this style.

Check out:

Violin Concerto - Few twentieth-century works are as wrenching as this. Written in response to the death of Mahler's daughter, this piece reconciles twelve-note serialism with traditional tonality. Berg quotes from a Carpathian folk tune in the opening movement, and from a Bach chorale in the second movement.

String Quartet - A graduation piece for Schonoenberg's class, this is Berg's first conclusive foray beyond tonality. Like his 'Piano Sonata', it displays great rhythmic flexibility and a broad expressive range, immediately apparent in the way the blunt opening statement quickly softens into a kind of question. There are moments of aching lyricism, but also bursts of fiery declamation, both stretching the players techniques to the limit: it feels like the young Berg is trying to fit everything he knows into one piece. This quartet deserves its status as a twentieth-century classic.

Varese (1883-1965)

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Varese, a highly influential French avant-garde composer who settled in America, was a man drastically ahead of his time. He was consumed with the quest of freeing sound from the limitations of normal instruments. This led him to percussion, electronics, taped sounds, loud speakers, sirens, dissonances and extremes of contrast.

Varese: “I long for instruments obedient to my thought and whim, with their contribution of a whole new world of unsuspected sounds, which will lend themselves to the exigencies of my inner rhythm.”- 1917.

Preferring the concept of organized sound to that of music, Varèse exercised a strong influence on the contemporary avant-garde, particularly in the United States, where he spent some time from 1915 until 1928. He returned to America in 1933, eventually finding the necessary backing for his electro-acoustic research. He enjoyed a career as a conductor of some distinction, but is remembered chiefly for his experiment in composition and for the influence his work exerted over younger composers. Varèse made an early impression with his Offrandes for soprano and small orchestra in 1921 and the remarkable Octandre for wind instruments and double bass, first heard in New York in 1924. Later organized sound included Ionisation, completed in 1931, and Déserts, with its combination of instrumental performance and recorded tape.

Check out:

Ionisation A lot of bloody percussion. The title comes from physics, and refers to the process by which an atom liberates an electron and assumes a positive electric charge. The 37 percussive instruments include bells, piano, glockenspiel, Chinese blocks, anvils, bongos, tam-tams, all manner of drums, and two sirens. Its highly concentrated six minutes contrast an astonishing range of sonorities with great virtuosity: a particular tension is set up between sounds that have a hard, abrasive quality and those of a more mellow and softer character. The result suggests a terrifying dreamscape where images of primeval jungle, of modern urban bustle, and even of warfare, jostle for dominance in the listener's imagination. This was greeted with horror at its Carnegie Hall premiere in 1933.

Arcana - Awesome, your ears will bleed. I'll leave it at that.




My Doors of Perception

A hot August day, we get the stuff, blend it in orange juice, we’re on our way. To the dike; got a knapsack full of water, and a giant blade- "for cougars" he says. Makes me laugh. Get to Hyde Creek and feeling something; lot's of energy. Seems like hours later and we're in front of Cedar Market. Time, slowing passing, going between its cracks. Fast yet slow. Until this point, just a distortion of time, no thematic feelings coalescing, no oceanic consciousness. He goes inside to buy some water, and I stand still in the parking lot. The sun, beating down, the air, quiet and lush. Mountains near. Then it starts. The ground begins to undulate, and these ripples slither and disappear over the asphalt. I stand entranced. Breathless. Trying to decipher the coloured geometry, when suddenly, my ears pop, and I can hear the world for the first time. So clearly; its song, silence. Makes me want to close my mouth forever. This is the theme throughout the walk, that there is a language before language, and that if we just seal our mouths tight enough, we can breath it, ebb and flow, bare existence enveloping us, whispering to us. While we start to walk, I tell him that the parking lot is a mathematical rainbow, and that there’s a code before all codes. He agrees. We walk, and all I smell and see, all around us, existence, existing. Kant said that it was a hallow concept, that when you think of a thing, and then think of that thing as existing, the second doesn’t add anything to the first. Maybe so. Existence is inextricably tied together with Nothing, and that’s why I keep thinking of death while we walk. One day we’ll die, but right now we’re free- Gods given existence, the greatest of all gifts. This moment, a pathway, two lanes running forward and backwards. Never be here again. I think this as we look at trees. High grass on this farm road.  On the dike now, can see the mountains, their green slopes close to us, shimmering. A presence, over everything, like some women, faintly singing, her silhouette, dancing. Walking faster. Halfway down the dike, and at the bench. When I’m dead, I want my own, he says. Standing silently, looking at the river and trees. A man walks up and sits down, doesn’t say anything, just drops his head. We both look at each other. A listener, drinking in the silence, a rare breed. We don’t speak; fifteen minutes like an eternity. Isn’t it nice? he says as we leave, the man smiles and agrees. He plays out in my minds for the rest of the evening, giving me hope despite the carnage on T.V.



20th Century Classical Composers Pt. 2

2oth Century Classical Pt. 2 - The Post-Modern Boys


Messiaen (1908-92)

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Messiaen wrote harmonically colourful and rhythmically complex music informed by a deep religious faith and a fascination for birdsong. He was one of the most influential teachers of his time and has exerted a strong influence on the new generation of Post-Modern composers.

Messiaen's musical language is derived from a number of varied sources, Greek metrical rhythms, Hindu tradition, non-traditional modal scales, adopted principles of twelve-tone serial writing, and bird-song. Along with his compositional works, he wrote theoretical works in which he explained the principles of his complex and original musical style. All of these styles were freely combined and exploited in his massive Turangalîla-Symphony. He was also intensely interested in tone colours, and incorporated new instruments such as the Ondes-Martenot (an early electronic instrument) into his works. He turned to the natural world for inspiration, his immense Catalogue d'oiseaux for solo piano (written for his wife, who was a virtuoso pianist) uses bird songs as the basis for melodic materials. Messiaen's most famous work, his Quatuor pour la fin du temps (Quartet for the End of Time), was written under the most difficult of circumstances, when he was a prisoner of war in Germany. The work was performed before the entire camp, Allied captives as well as German officers.

Check out:

Quartet for the End of Time - This 45 minute free-flowing masterpiece is one of the century's supreme examples of transcendent art. The symmetry and quiet beauty of the quartet belies the terrible circumstances under which it was created. The score is prefaced by a quotation from the Book of Revelations, in which the angel of the apocolypse shouts, "There shall be time no longer". The music is hauntingly beautiful, its labyrinthine sounds replete with shimmering harmonies and archaic tones that Messiaen codified in his 'Techiniques of My Musical Language', published in 1944. The piano, enveloped in a pedal, insistently keeps time, while the clarinet (especially in the 'Abyss of the Birds) follows a path like a bird's song. The eery 'Praise to the Eternity of Jesus', with a piano playing coloured block chords and a cello phrasing, is my all-time favourite classical duet.

Turangalîla Symphony - The title, derived from Sanskrit, can be translated as the "speed of life", and the sound explosions of this colossal 1947 work certainly live up to that name. Messiaen imparts a certain amount of subtlety to the loud sonorities by use of the glockenspiel, vibraphone, and above all the Ondes Martenot, an instrument whose ethereal tones are perhaps the most distinctive feature of this epic piece (the first classical piece to ever feature an electronic instrument). The Ondes Martenot creates a kind of Hollywood horror effect in the third movement, but it's in the sixth movement, Jardin de Someil (The Garden of Sleep), that the metallic timbre and delicate harmonies of this instrument come into their own (it sounds like a comet slowly drifting). Set against the rhythmic piano and floating strings, the ondes Martenot makes parts of Turangalila sound ambient and minimalist, years before those styles had been invented.

Oraison - An electronic piece with six dueting Ondes-Martenots, this was premiered at the Paris World Fair in 1935 with loudspeakers set up along the foggy, night-enshrouded Seine. Sounds like ghosts.

Ligeti (1923-)

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Hungarian composer, Ligeti is best known for his use of irregular rhythms and ‘micro-polyphony’: thick fog-clusters of sounds that gradually stretch and transform.

Ligeti: “The complex polyphony of the individual parts is embodied in a harmonic-musical flow, in which the harmonies do not change suddenly, but merge into one another; one clearly discernible interval combination is gradually blurred, and from this cloudiness it is possible to discern a new interval combination taking shape.”

During the 1960s Ligeti’s music became characterized by the use of "micro polyphony": combining instruments into gradual changing walls of sound clusters. With this new technique the traditional perception of chord changes, where a chord ends and a new one begins (a staple expectation in the Western musical canon) now became murky. With no clear delineation between chord changes the music seems a-temporal and multi-dimensional (a significant alternative to post-Webern serialism).

Check out:

Chamber Concerto - This is perhaps the finest of the rich sequence of concerto-like works that Ligeti composed during the late 1960's and early 1970's. The work is scored for a small ensemble of thirteen virtuoso performers, featuring winds, strings, and two keyboard players- a relatively traditional line-up, though one from which Ligeti is able to conjure the most outlandish sonorities. A Hammond organ adds a distinctively sepulchral touch to some of the concerto's more spookier moments. The third movement, a kind of crazy scherzo composed of conflicting pulses, is one of Ligeti's most memorable creations.

Lux Aeterna - A choir using micro-polyphony, it has to be heard to be believed.

Piano Etudes - As ambitious and profound as the studies of Chopin and Debussy, Ligeti's études virtually reinvent an instrument which had been largely sidelined by the musical avant-garde, creating effects of complexity which are all the more compelling for being produced by just a single performer. Like much of Ligeti's recent music, these Etudes are founded on the complex interplay of different rhythms and tempi.

Boulez (1925-

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Along with the German Stockhausen, Boulez was one of the leaders of the European avant-garde at mid-century. Under the strong influence of his teacher Messiaen, he is known principally for his extension of the techniques of serialism beyond the limits of the Second Viennese School into a logical style that brings with it a paradoxical freedom.

A curious thing happens when a composer uses abstract, rational methods to control every aspect of a musical composition. The result is a piece that does not sound rational and totally controlled. Instead, it begins to sound random or improvised. This was a dilemma faced by composers in the middle of the twentieth century, and the music of Pierre Boulez represents one reaction to this problem. Boulez, like his teacher Messiaen, had a strong interest in mathematics. He was greatly influenced by his teacher's careful structuring, but unlike Messiaen, he fully embraced the techniques of the Second Viennese school and its use of twelve-tone and serial techniques. He took these principles a step further by eliminating (in his words, destroying) the formal ideas that still formed the basis of their works (sonata, fugue, etc). The result was a purely abstract style of music, with seemingly no tie to the past. In his Structures I for two pianos, for example, nearly every element of pitch, timbre and duration are controlled by abstract relationships calculated before the piece was actually written. As the difficulty of such an approach became apparent, Boulez and others began to take a freer approach to writing, and to make use of indeterminate or aleatoric techniques in their music. This mostly revolved around allowing the performer to choose the order and repetition of various sections in the performance of a piece.

Check out:

Explosante-fixe’(1996) - A homage to Stravinsky, it features a chamber orchestra and 3 flutes subject to computer modulation. The flutes echo off each other as if in a hall of mirrors, with the soloist, like Ariadne, leading the way out.

Structures I and II pour deux Pianos - Total serialistic, post-modern principles stretched to their conceptual limits. These are furious pieces, whose jagged lines and unremitting rhythmic pileups give something absolutely new. These scores are cloaked in the post-modern, philosophical notion of 'indeterminate meaning': the piano player is offered the choice of movements to play, as well as the execution of pitch and timbre.

Penderecki (1933-)

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The Polish composer Penderecki roams the minute quarter tones between notes, allowing for more dissonant expression.

Penderecki, one of the leaders of the sixties Post-Modern avant-garde, has a dark style wholly his own. His violins are usually described as screaming insects, and his rampant use of plucking and irregular tempos sound like crawling swarms. He gained international fame with his ‘Threnody’(1960), dedicated to the victims of Hiroshima. It xploited the fierce expressive effects of minute quarter tone sonorities. His music has also been used by Stanley Kubrick. In the mid-1970s Penderecki’s style shifted towards larger symphonic forms based on rudimentary chromatic motifs.

Check out:

Threnody for the Victims of Hiroshima - Threnody, with its tone-clusters that eradicate the boundary between noise and pitch, is the last word on textural music. With its sickening glissandos and piercing high-note passages, it's a shattering musical dramaturgy on nuclear destruction. The piece begins with 52 screaming violins hammering out a hideous tonal cloud, so ghastly it’s beautiful.

Dimensions of Time and Silence - The sound of a Void.

Fluorescenses - Sounds you never thought an orchestra could make.

Glass (1937-)

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Modern music’s initial phase saw it twisting and turning through unconventional complexities, irregular rhythms, dissonant chords, and barely discernible melodies. Some Post-modern music shirked away from these practices and returned to more basic arrangements. Glass’s ‘minimalism’ features basic droning rhythms and melodies. A pupil of Nadia Boulanger, his influences include the Indian sitar player Ravi Shankar.

Check out:

Music in Twelve Parts - 'Music in Twelve Parts', written between 1971 and 1974, represents a beginning and an end. Stretching a point, it might be seen as Glass’s equivalent to Bach’s 'The Art of Fugue' in that it summed up his work and acted as an encyclopaedia of it's theoretical basis. In so far as Glass ever accepted the tag, he regarded 'Music in Twelve Parts' as the conclusion of his minimalist period: “Although 'Music in Twelve Parts' would be classified as a minimalist work, it was a breakthrough for me and contains many of the structural and harmonic ideas that would be fleshed out in later works”.

Symphony No.3 - Breathtaking. In the third movement a huge wall of violins interplay off each other, riding the coat-tails of the hypnotic, droning bass.

Gorecki (1933-)

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Gorecki’s style contains selective usages of serial technique as well as ‘minimalistic great spaces’ (huge blocks of sounds with full textural clusters). His music gives the impression of a great reverberating ‘space-of-events’, hitting the senses like a supra-emotional catastrophe.

Check out:

Symphony No. 3 (Symphony of Sorrowful Songs) - With its moving soprano solo, this is a ‘minimalist’ work of mounting intensity. The harrowing anguish of the Holocaust, the specks of light within suffering, come to life here. In the second movement, the emotional heart of the work, a yearning, orchestral writing, frames a beautiful, female soprano. The contrast between the beauty of the sounds and the horror of their origins (they were scratched onto the wall of a Gestapo cell by an 18 year old girl before she was executed) intensify the song.