71011099_thread.json

{
 "id":"71011099",
 "name":"Beau Sievers",
 "screen_name":"beausievers",
 "tweets":[
  {"id":"1207037689163206656","timestamp":"1576615185","retweet_count":"9","favorite_count":"65","in_reply_to_status_id":"null","in_reply_to_user_id":"null","in_reply_to_screen_name":"null","text":"Like this post for one opinion about music composition, cognition, and perception. Retweet this post for either a hot take or an abstruse technical detail (chosen at random).\n\nTo get things started: We have no music theory worth the name.\n\nhttps://t.co/VlflSOHDJl"},
  {"id":"1207038522848247808","timestamp":"1576615384","retweet_count":"1","favorite_count":"9","in_reply_to_status_id":"1207037689163206656","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"The best candidate for a theory of music is James Tenney's theory of temporal gestalt perception, which has been unjustly ignored."},
  {"id":"1207039258378174464","timestamp":"1576615559","retweet_count":"0","favorite_count":"8","in_reply_to_status_id":"1207038522848247808","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"One reason Tenney's theory is \"worth the name\" is that it points toward a formalization that interfaces representations of music with social and cultural processes, via the idea of the \"subjective set,\" or the cognitive and perceptual basis space of the listener."},
  {"id":"1207040688660992005","timestamp":"1576615900","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207039258378174464","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Evidence such an interface is necessary: the falsely posed opposition between cultural-historical readings of music and phenomenological/psychological readings continues to produce huge, career-cementing explosions of completely vacuous discourse"},
  {"id":"1207041762994212864","timestamp":"1576616156","retweet_count":"0","favorite_count":"8","in_reply_to_status_id":"1207040688660992005","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"In my previous life as a composer in New York, the frothy center of this terrible discursive whirlpool was the debate between Seth Kim-Cohen and Christoph Cox held at Issue Project Room on the question of \"non-cochlear sonic art\""},
  {"id":"1207041942929887232","timestamp":"1576616199","retweet_count":"0","favorite_count":"7","in_reply_to_status_id":"1207041762994212864","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Oops the opinion in the previous tweet was implicit. Let me make it explicit: it was bad."},
  {"id":"1207042513699098624","timestamp":"1576616335","retweet_count":"1","favorite_count":"3","in_reply_to_status_id":"1207041942929887232","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Here's a hot take for an anonymous retweeter: The reason this debate is bad is that it has the same form as the endless debate in game design about \"ludonarrative dissonance,\" except with less conceptual clarity."},
  {"id":"1207044129370169344","timestamp":"1576616720","retweet_count":"0","favorite_count":"5","in_reply_to_status_id":"1207042513699098624","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"In my view, this debate posits a fundamental contradiction between the cultural/historical/narrative content of a work and what it is like to experience it directly, with each side claiming that the other's analysis is ill-posed, politically reactionary, or both"},
  {"id":"1207044734834765825","timestamp":"1576616865","retweet_count":"0","favorite_count":"3","in_reply_to_status_id":"1207044129370169344","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Hot take #2 for @Chigbarg: This approach is destructive, regressive, and will in retrospect seem deeply embarrassing."},
  {"id":"1207046602671542272","timestamp":"1576617310","retweet_count":"0","favorite_count":"1","in_reply_to_status_id":"1207044734834765825","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg This is because this debate and others like it are driven by a clash of already-cemented moral-aesthetic positions. In this case the particularist, context-sensitive interpreter of history, vs. the universalist, context-general science of forms."},
  {"id":"1207047590321119232","timestamp":"1576617546","retweet_count":"0","favorite_count":"3","in_reply_to_status_id":"1207046602671542272","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg Strong forms of both positions are dead in the water. And this is why we need a substantive theory of music that actively interfaces a thick understanding of context (culture, history, narrative) with an equally thick understanding of representational form. Bring Tenney back."},
  {"id":"1207048779649572869","timestamp":"1576617829","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207047590321119232","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg Shifting topic to produce another hot take for @omnikrll: Postminimalism was and continues to be a terrible mistake.\n\n(Will try to keep future opinions tight and atomic.)"},
  {"id":"1207049602341277696","timestamp":"1576618025","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207048779649572869","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll Many music organizations largely exist to provide moral cover for extremely wealthy donors."},
  {"id":"1207064307051028480","timestamp":"1576621531","retweet_count":"1","favorite_count":"7","in_reply_to_status_id":"1207049602341277696","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll Postminimalism is the \"goldilocks zone\"—it resembles \"concert music\" enough to dignify large donors, and resembles the avant garde enough to conjure the vibe of \"innovation\""},
  {"id":"1207067183458611200","timestamp":"1576622217","retweet_count":"0","favorite_count":"6","in_reply_to_status_id":"1207064307051028480","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll Lol, upcoming tweets will be more utopian, less \"old man yells at cloud.\"\n\nUtopian opinion: Future music theory will move beyond cataloging transformations to describing rich behavioral and procedural vocabularies, drawing from dynamical systems theory, AI, and game design."},
  {"id":"1207069705975947264","timestamp":"1576622818","retweet_count":"2","favorite_count":"7","in_reply_to_status_id":"1207067183458611200","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll And in doing so, future music theory will grow to accommodate specifically _stylistic_ innovation—inklings of this future can be seen in work on \"vibe\" by literary theorist @peligrietzer and work on musical program synthesis by Halley Young"},
  {"id":"1207073372200296448","timestamp":"1576623692","retweet_count":"0","favorite_count":"8","in_reply_to_status_id":"1207069705975947264","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll @peligrietzer Future music theory will also entertain a much more inclusive and expansive notion of what constitutes a musical representation—for example, @EzraTeboul's work on how the representational capacities of electronic circuits collide with social and cultural processes"},
  {"id":"1207077333900746753","timestamp":"1576624637","retweet_count":"1","favorite_count":"11","in_reply_to_status_id":"1207073372200296448","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll @peligrietzer @EzraTeboul Given that dance music so perfectly exemplifies how culture, cognition, and representation interact, it is profoundly understudied."},
  {"id":"1207084223238029312","timestamp":"1576626280","retweet_count":"0","favorite_count":"2","in_reply_to_status_id":"1207077333900746753","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll @peligrietzer @EzraTeboul The Mozart Effect cast a shadow over music research not simply because of the spate of poorly reasoned studies with overgeneralized claims, but also because much of the backlash was also poorly reasoned and overgeneralized"},
  {"id":"1207086121470922752","timestamp":"1576626732","retweet_count":"0","favorite_count":"11","in_reply_to_status_id":"1207084223238029312","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll @peligrietzer @EzraTeboul The polyphonic era should feature MUCH more prominently in music pedagogy—voice leading often dominates perception, and voice leading strategies can be seen a class of effective procedures that create a vibe"},
  {"id":"1207086887115976704","timestamp":"1576626915","retweet_count":"0","favorite_count":"7","in_reply_to_status_id":"1207086121470922752","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll @peligrietzer @EzraTeboul (And instructors treating voice leading as an afterthought is a big part of why student counterpoint exercises are uniformly unlistenable)"},
  {"id":"1207093148427550720","timestamp":"1576628407","retweet_count":"1","favorite_count":"9","in_reply_to_status_id":"1207086887115976704","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@Chigbarg @omnikrll @peligrietzer @EzraTeboul That music understanding is socially constructed is just common sense; the question is what else enables and constrains constructive processes"},
  {"id":"1207138964529991680","timestamp":"1576639331","retweet_count":"1","favorite_count":"14","in_reply_to_status_id":"1207093148427550720","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Theories of musical form are theories of human memory"},
  {"id":"1207141805684379648","timestamp":"1576640008","retweet_count":"1","favorite_count":"13","in_reply_to_status_id":"1207138964529991680","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"The popularity of endless playlists from automatic music recommendation systems isn’t about taste: it’s about anxiety"},
  {"id":"1207174880434802689","timestamp":"1576647894","retweet_count":"1","favorite_count":"10","in_reply_to_status_id":"1207141805684379648","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Small brain: is it “good?”\nNormal brain: is it “interesting?”\nBig brain: how was it made?\nGalaxy brain: who does it benefit?\nUniverse brain: what does it require?"},
  {"id":"1207177405531643904","timestamp":"1576648496","retweet_count":"3","favorite_count":"7","in_reply_to_status_id":"1207174880434802689","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Timbre is studied by computer scientists while culture is studied by musicologists—“if you have a hammer, everything looks like a nail”"},
  {"id":"1207184107412824064","timestamp":"1576650094","retweet_count":"1","favorite_count":"7","in_reply_to_status_id":"1207177405531643904","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Last year there was a paper showing pop music is becoming less complex over time. Instead of asking “Who cares? Is complexity good or bad, really?” we might wonder: “What are we, and how do we live together, such that this kind of change has meaning?”"},
  {"id":"1207296671291518976","timestamp":"1576676931","retweet_count":"2","favorite_count":"10","in_reply_to_status_id":"1207184107412824064","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"General MIDI is astonishing not only for its universalist overreach, but because it largely achieved its utopian goals—and we’re all better off for it"},
  {"id":"1207300772280643584","timestamp":"1576677909","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207296671291518976","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"On game pieces:\n\nChristian Wolff: sensitivity to the form of the collective\nJohn Zorn: satire of capital and war, from the lower east side, from a safe distance\nPhill Hermans: capital as computation, the performers crushed by its relentless maw"},
  {"id":"1207305037313126402","timestamp":"1576678926","retweet_count":"2","favorite_count":"6","in_reply_to_status_id":"1207300772280643584","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"The relationship between “high” art, music, and critical theory consists largely of arbitrage of cultural capital, and is pinned to the rise and fall bubble dynamics of speculative finance"},
  {"id":"1207305886949134340","timestamp":"1576679128","retweet_count":"0","favorite_count":"3","in_reply_to_status_id":"1207305037313126402","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Do NOT turn the drone crank"},
  {"id":"1207311075911319553","timestamp":"1576680365","retweet_count":"1","favorite_count":"5","in_reply_to_status_id":"1207305886949134340","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Composers should form cooperatives"},
  {"id":"1207312955165102080","timestamp":"1576680813","retweet_count":"0","favorite_count":"3","in_reply_to_status_id":"1207311075911319553","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Flow based music programming languages like PureData are a blessing and a curse—they support rapid experimentation and exploration, but make it hard to reason about higher order abstraction"},
  {"id":"1207313865018630148","timestamp":"1576681030","retweet_count":"1","favorite_count":"4","in_reply_to_status_id":"1207312955165102080","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Max/MSP is like a parent who’s so supportive and encouraging that it eventually gets in the way and makes it harder to mature and grow"},
  {"id":"1207315205467889667","timestamp":"1576681350","retweet_count":"2","favorite_count":"9","in_reply_to_status_id":"1207313865018630148","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Reverb should be banned in DIY spaces"},
  {"id":"1207319777452142593","timestamp":"1576682440","retweet_count":"0","favorite_count":"3","in_reply_to_status_id":"1207315205467889667","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"To really learn a musical instrument, don’t just practice patterns that are grouped to form songs—practice fluidly generalizing movement ideas across different musical and physical dimensions"},
  {"id":"1207325672886030342","timestamp":"1576683846","retweet_count":"1","favorite_count":"5","in_reply_to_status_id":"1207319777452142593","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"To really learn a musical instrument, play with other people"},
  {"id":"1207326783483170816","timestamp":"1576684110","retweet_count":"0","favorite_count":"2","in_reply_to_status_id":"1207325672886030342","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"To really learn a musical instrument, go on YouTube"},
  {"id":"1207328205683585024","timestamp":"1576684449","retweet_count":"1","favorite_count":"12","in_reply_to_status_id":"1207326783483170816","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Vinyl aficionados who think it sounds better are wrong—vinyl is superior because it is slow, cumbersome, and imperfect, because these flaws paradoxically lead people to invest in the listening process and share it with those close to them"},
  {"id":"1207330437862846464","timestamp":"1576684982","retweet_count":"1","favorite_count":"8","in_reply_to_status_id":"1207328205683585024","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"When composing, always ask yourself: What is the stupidest version of this idea?"},
  {"id":"1207336241504501761","timestamp":"1576686365","retweet_count":"0","favorite_count":"5","in_reply_to_status_id":"1207330437862846464","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"It is almost always better for everyone when composers commit to building a new ecosystem for their music than when they choose to adapt to existing ecosystems\n\nhttps://t.co/Q9ZI3qonQv"},
  {"id":"1207362431476887553","timestamp":"1576692610","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207336241504501761","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Fred Lerdahl was on the right track but made an interesting mistake: He asked \"If our minds are coextensive with our language, what should we be able to hear?\"\n\nFor composers, a more productive line: \"Not knowing what our minds are made of, what kinds of minds could hear _this_?\""},
  {"id":"1207423642390282240","timestamp":"1576707203","retweet_count":"0","favorite_count":"1","in_reply_to_status_id":"1207362431476887553","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr hit me with that quote tweet clout\n\nhttps://t.co/WChvCHsy7D"},
  {"id":"1207423996720889856","timestamp":"1576707288","retweet_count":"1","favorite_count":"4","in_reply_to_status_id":"1207423642390282240","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Hot take: New Complexity is the earned income tax credit of new music"},
  {"id":"1207428840999440386","timestamp":"1576708443","retweet_count":"0","favorite_count":"2","in_reply_to_status_id":"1207423996720889856","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Abstruse technical detail. The sonic vibe of early work by Richard Devine is created by using Earthworks microphones to record heavy machinery (e.g., jet engines), which is then processed using Trevor Wishart's Composers Desktop Project\n\nhttps://t.co/xLBqx0fxWd"},
  {"id":"1207430363380797440","timestamp":"1576708806","retweet_count":"2","favorite_count":"8","in_reply_to_status_id":"1207428840999440386","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Courses on the history of electronic music focus too much on the major European studios (IRCAM, GRM, etc.); some of that attention should be shifted to earlier pioneers like Bebe and Louis Barron and Raymond Scott, and to more recent DIY experimentalists like Victoria Shen"},
  {"id":"1207432931628609537","timestamp":"1576709418","retweet_count":"1","favorite_count":"4","in_reply_to_status_id":"1207430363380797440","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Not enough composers have read this essay by Lachenmann:\n\nhttps://t.co/YnSkSoFIsW https://t.co/2OeUWjBiuY"},
  {"id":"1207436563371528193","timestamp":"1576710284","retweet_count":"1","favorite_count":"2","in_reply_to_status_id":"1207432931628609537","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr The works of Robert Ashley and Chris Mann highlight exactly what the syntax-focused lawyer-theorists miss: how language and music comprise not only a semantics of communication, but a pragmatics of coping\n\nhttps://t.co/ANEc2dBn8M"},
  {"id":"1207440755746205696","timestamp":"1576711283","retweet_count":"1","favorite_count":"3","in_reply_to_status_id":"1207436563371528193","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr It's true that new musical representations can conjure new social forms into being, but it is the boring work that proves most effective: electrical engineering, software development, careful notation, the logistics of publishing..."},
  {"id":"1207442258368188417","timestamp":"1576711642","retweet_count":"2","favorite_count":"6","in_reply_to_status_id":"1207440755746205696","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr That there are so few black composers in America today should be deeply troubling to everyone in the music community"},
  {"id":"1207444003601272832","timestamp":"1576712058","retweet_count":"0","favorite_count":"5","in_reply_to_status_id":"1207442258368188417","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Music analysis pedagogy is right to begin with common practice roman numerals and counterpoint, but should quickly advance to showing that these are members of a larger, open class of representational systems that must be challenged, antagonized, and expanded"},
  {"id":"1207444778406662145","timestamp":"1576712243","retweet_count":"3","favorite_count":"5","in_reply_to_status_id":"1207444003601272832","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr The most popular music machine learning projects have produced no insight about music, but exist entirely to make the corporations that operate machine learning research labs appear benevolent"},
  {"id":"1207450981950087168","timestamp":"1576713722","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207444778406662145","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Hot take: Steve Reich sucks"},
  {"id":"1207464560447213568","timestamp":"1576716959","retweet_count":"0","favorite_count":"3","in_reply_to_status_id":"1207450981950087168","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Future music theory will need to represent perceived causal relationships between musical objects"},
  {"id":"1207638896244383744","timestamp":"1576758524","retweet_count":"3","favorite_count":"11","in_reply_to_status_id":"1207464560447213568","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Cancel your Spotify account and use BandCamp instead\n\nhttps://t.co/6ItfmlRFLB"},
  {"id":"1207642961107918848","timestamp":"1576759493","retweet_count":"1","favorite_count":"2","in_reply_to_status_id":"1207638896244383744","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr One school: The score is unambiguous, limiting the need for rehearsal. The composer's will is crystallized; the performers execute.\n\nAnother: The process of resolving ambiguities in the score is the content of the composition. We hear the performers' cognitive labor."},
  {"id":"1207648153652125696","timestamp":"1576760731","retweet_count":"1","favorite_count":"3","in_reply_to_status_id":"1207642961107918848","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr If a project on \"alternative controllers\" doesn't have more transformative potential than Nintendo's Wii Fit then it should go in the trash."},
  {"id":"1207649851200229376","timestamp":"1576761136","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207648153652125696","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Abstruse technical hot take: David Huron's theory of prediction and anticipation in music would be improved by taking a Karl Friston-style free energy minimization approach, treating not only listening but _meta_-listening processes to be _actively_ inferential"},
  {"id":"1207650660096851969","timestamp":"1576761329","retweet_count":"0","favorite_count":"1","in_reply_to_status_id":"1207649851200229376","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Some of y'all haven't listened to Powerdove and it shows smdh\n\nhttps://t.co/zG9iupFd4S"},
  {"id":"1207654756946259968","timestamp":"1576762305","retweet_count":"0","favorite_count":"2","in_reply_to_status_id":"1207650660096851969","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Hot take: Henry Flynt was right https://t.co/NuqUElvf1L"},
  {"id":"1207657233628172288","timestamp":"1576762896","retweet_count":"0","favorite_count":"1","in_reply_to_status_id":"1207654756946259968","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr All methods for learning to play a musical instrument are about overcoming limits on the generalizability of human cognition—just because you can think it doesn't mean you can play it."},
  {"id":"1207657658658041859","timestamp":"1576762997","retweet_count":"0","favorite_count":"0","in_reply_to_status_id":"1207657233628172288","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr Following this, it makes sense to ask: Why is the Suzuki method both so successful and so reviled?"},
  {"id":"1207658105959571456","timestamp":"1576763104","retweet_count":"0","favorite_count":"5","in_reply_to_status_id":"1207657658658041859","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"@vgr And, hot take, Suzuki fails where Dungeons & Dragons succeeds: \n\nD&D regulates fighting and shopping. Paradoxically, this causes players to put their creative energy into creating meaningful narrative.\n\nSuzuki regulates musical community, so players don't build one of their own."},
  {"id":"1207665049818607618","timestamp":"1576764759","retweet_count":"0","favorite_count":"3","in_reply_to_status_id":"1207658105959571456","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"At some point, the question “Is music like language?” becomes “How is moving your hands like moving your mouth?”"},
  {"id":"1207717487795556352","timestamp":"1576777262","retweet_count":"0","favorite_count":"6","in_reply_to_status_id":"1207665049818607618","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"One way to think about musical scores is as objects that represent (and therefore impose) constraints on a range of control mechanisms."},
  {"id":"1207718628436529154","timestamp":"1576777534","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207717487795556352","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Let > be a gradable constraint operator. This picture is tempting:\n\n\"Composer's will\": score >>>>> motor control >>>>> perception\n\n\"Ambiguity resolution\": score > (cognitive control & social control) > motor control > perception\n\n...but it's missing some things."},
  {"id":"1207719932034572288","timestamp":"1576777844","retweet_count":"0","favorite_count":"2","in_reply_to_status_id":"1207718628436529154","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Including: [motor, cognitive, social] control mechanisms are coupled— there's probably no way to get one without the others. And this is one way to rehabilitate the \"composer's will\" model of the score, as having rich implications outside of the harsh motor control limits"},
  {"id":"1207721685291433984","timestamp":"1576778262","retweet_count":"0","favorite_count":"4","in_reply_to_status_id":"1207719932034572288","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Also, insofar as they require learning and memory, imposing such constraints can cause permanent changes!\n\nNew techniques permanently change \"muscle memory;\" conversations that resolve ambiguities permanently change conceptual spaces"},
  {"id":"1207723740655583232","timestamp":"1576778752","retweet_count":"0","favorite_count":"2","in_reply_to_status_id":"1207721685291433984","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"This picture implicitly expands the scope of analysis to include rehearsal requirements, and a similar expansion is required on the perceiving side."},
  {"id":"1207724210048487425","timestamp":"1576778864","retweet_count":"0","favorite_count":"5","in_reply_to_status_id":"1207723740655583232","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"I.e., the object of musical analysis is not just listener phenomenology (though it must certainly include it), but also the process of repeated listening, of the artifacts and social context that make this listening possible, of the conversations that are provoked, and so on"},
  {"id":"1207727987849740288","timestamp":"1576779765","retweet_count":"0","favorite_count":"1","in_reply_to_status_id":"1207724210048487425","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"This implies a radical breaking down of disciplinary borders, and while it's easy to gesture toward, it's hard to bite the bullet—few seem willing to embrace cognitive constraints on the social or social constraints on the cognitive.\n\nI think we have got to bite the bullet."},
  {"id":"1207743245964300288","timestamp":"1576783403","retweet_count":"0","favorite_count":"1","in_reply_to_status_id":"1207727987849740288","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"All that said, it's okay to limit one's analysis to just the parts of music that one's tools can touch. \n\nDon't be too hard on yourself, it's rough out there!"},
  {"id":"1207746084400812032","timestamp":"1576784080","retweet_count":"0","favorite_count":"2","in_reply_to_status_id":"1207743245964300288","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"Let Phill turn the drone crank."},
  {"id":"1207722940021653504","timestamp":"1576778561","retweet_count":"0","favorite_count":"0","in_reply_to_status_id":"1207719932034572288","in_reply_to_user_id":"71011099","in_reply_to_screen_name":"beausievers","text":"or maybe: understanding harsh motor control limits to have rich, outward-facing implications"}
 ]
}