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History and Memory

History and Memory i n t r o d u c t i o n Sometime in the Spring of 1990 I received a phone idiosyncratic. The existing tools of musicology were ill call from Larry Polansky inviting me to contribute to the suited for analyzing music based on echolocation, CD premiere issue of Leonardo Music Journal (spun off from error correction, Doppler shift or speech patterns. Criti- the venerable Leonardo journal of art and technology), of cism fell into the gap between journals serving academic which he was the founding editor. Larry’s timing was aus- composers and musicologists and magazines dedicated picious: ordinary life was suspended in my Bleecker Street to more popular styles. As a result, we were left with a loft as I awaited our firstborn and engaged in rewinding body of work—conveyed largely in oral tradition, unla- and fast-forwarding the tape of my life. Fearing that the beled circuits and forgotten computers—whose details, blessed event would render me incapable of composing and sometimes very existence, were unknown outside a for months to come, I accepted the oer ff on the assump- small circle. tion that writing words would be somehow easier than The desire to chip away at http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

History and Memory

Leonardo Music Journal , Volume (27): 2 – Dec 1, 2017

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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/LMJ_e_00998
Publisher site
See Article on Publisher Site

Abstract

i n t r o d u c t i o n Sometime in the Spring of 1990 I received a phone idiosyncratic. The existing tools of musicology were ill call from Larry Polansky inviting me to contribute to the suited for analyzing music based on echolocation, CD premiere issue of Leonardo Music Journal (spun off from error correction, Doppler shift or speech patterns. Criti- the venerable Leonardo journal of art and technology), of cism fell into the gap between journals serving academic which he was the founding editor. Larry’s timing was aus- composers and musicologists and magazines dedicated picious: ordinary life was suspended in my Bleecker Street to more popular styles. As a result, we were left with a loft as I awaited our firstborn and engaged in rewinding body of work—conveyed largely in oral tradition, unla- and fast-forwarding the tape of my life. Fearing that the beled circuits and forgotten computers—whose details, blessed event would render me incapable of composing and sometimes very existence, were unknown outside a for months to come, I accepted the oer ff on the assump- small circle. tion that writing words would be somehow easier than The desire to chip away at

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2017

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