Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 3 (Musical Narrative)

Part 1. Part 2. 2001: Narrative and Musical Parallels. “Ultimately, 2001 is a film that suspends that coordination of the human body, and thus human nature, in such conditions- even as it suspends our final judgments about human nature in its open-ended conclusion about our future development.” Decker – (2007, p.101). One of the biggest omens that a piece of music is given preference in … Continue reading Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 3 (Musical Narrative)

adamscovellMarch 27, 2014April 20, 20263 Comments

Uncategorized

Eroticism in the Music of Béla Bartók – Part 4 (Kierkegaard’s Immediacy)

Part 1. Part 2. Part 3. Kierkegaard’s Erotic Immediacy and the Atonal Manifestation of Complex Erotic Identity in Music for Strings, Percussion and Celesta. “Sensuous immediacy has its absolute medium in music, and this also explains why music in the ancient world did not become properly developed but is linked to the Christian world.” – Kierkegaard (1843, p.71). Unlike the other pieces of music by … Continue reading Eroticism in the Music of Béla Bartók – Part 4 (Kierkegaard’s Immediacy)

adamscovellJanuary 13, 2014April 20, 20267 Comments

Film

Nietzsche and 2001: A Space Odyssey (1968)

At this moment in time, I’m currently between two relatively heavy audio-visual essays. The first (which is now finished and will be going online in segments from the end of the month) is about Andrei Tarkovsky’s film, The Sacrifice (1986) and how it has parallel aims with that of the Russian composer Scriabin and his unfinished work, Mysterium. The second is looking at Stanley Kubrick’s … Continue reading Nietzsche and 2001: A Space Odyssey (1968)

adamscovellJanuary 9, 2014April 20, 20267 Comments