Saturday, September 25, 2021
links for the weekend on a theme--Ted Gioia points out the 3 minute song is no good for generating trance states (like it's unable to generate the "argument" of a symphonic form) and other things
Mark Driscoll would probably never say he has practiced oneiromancy throughout his entire public ministry, nor would he call what he has described as prophetic dreams a pattern of dream divination, and this would be entirely because of his confessional commitments. He’s a Bible-believing, Jesus-preaching, church-planting guy so whatever methods he has relied upon in his ministry cannot be termed divination. Yet to consult Mark Driscoll’s own statements, whatever he refuses to call it, dream divination has played a crucial role in his public ministry since even before its formal beginning.
Dream divination shows up in biblical literature and across the ancient near east and has been the subject of a monograph I’ve started into, co-edited by Esther Hamori. That dreams were regarded as potentially divine communication did not mean that dreams were automatically regarded as such, not even when the dream included statements made by gods. It was not unheard of for even a king to have a dream and resort to some other form of technical divination to confirm whether or not the god that appeared in the dream had really spoken or was actually the god that claimed to have a message within the dream. We’ll eventually see that Mark Driscoll, too, could act a bit like an ancient Mesopotamian king in having dreams he regarded as having supernatural origin but that he wanted to test against a firmer, canonical text or method of dream verification.
In the past critics of Mark Driscoll from the Team Pyro wing have fixated on what they regarded as Mark Driscoll’s pornographic divination. If salacious and scandalous content alone were sufficient to prove a message couldn’t have come from Yahweh the Team Pyro sorts have to contend with Ezekiel 23. Now I think we should be concerned that when Driscoll said “I see things” he kept seeing sexual acts and domestic violence—his gift of discernment was not so great a gift that he saw that using Result Source to rig a No. 1 spot on the New York Times bestseller list for Real Marriage was a disastrously bad idea. But I contend that if we are going to attempt to assess whether Mark Driscoll’s claims about “I see things” may be credible we should back up the proverbial truck and look at his accounts of what can be called dream divination and that he’d prefer to call prophetic dreams.
So let’s start at the start of Mars Hill Church.
Tuesday, September 21, 2021
Sunday, September 19, 2021
Analysis of Matiegka’s Six Sonates Progressives Op. 31, Sonata No. 2 in A minor--now supplemented with in-score analysis
The Anxieties of Empires and decolonizing musicology, how Anglo-American musicology is having a debate about the primacy of German music, sort of
If the British Empire and it's spin-off the United States of America had not more or less continuously exerted world-defining influence and power across the entire planet we might not be seeing the back and forth debates we've been seeing about whether or not Anglo-American musicology needs to be "decolonized" by way of giving less emphasis to the would-be German empire we helped defeat in two wars inside the last century.
For reasons I admit I have not discerned, Norman Lebrecht has posted as an “exclusive” that J. P. E. Harper-Scott has decided to withdraw from academia in response to “woke” musicology. A dutiful addition of a composer who “can’t be decolonized” was added that mentioned that Franz Liszt could not be decolonized.
But how can the announcement have been an “exclusive” when it was sitting at Harper-Scott’s website for the whole world to read?
Nineteenth-century musical works were the product of an imperial society. The classical musical canon must be decolonised.
So Harper-Scott has announced he has left academia. This move seems indicative, writing as someone outside academia, like a small part of a set of conflicts between British leftists and American progressives in Anglo-American musicology. Harper-Scott is hardly a political reactionary but Americans might get the idea that he is. The tricky thing about attempting to parse debates and battles through a left/right binary is that there’s no shortage of radical musicians in terms of politics who were traditionalist in their musical styles (Hans Eisler, for instance, or a raft of Soviet composers). Ian Pace has been arguing for both leftist politics and against what he regards as the “deskilling” of musicology, as well as having a discussion about the hegemonic influence of Anglo-American popular musics. Harper-Scott has, so far, not struck me as being nearly as specific as Pace. That sort of thing was on my mind when I wrote “hegemony may be in the eye of the complainer “ years ago. British musicologists being concerned about the hegemonic influence of American popular music can sincerely think that in terms of market presence Anglo-American pop has ruled the world and that Anglo-American pop could and has included blues and jazz.