The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by Tal_175
    My favorite part of Phd theses is the overview of the literature. You generally get a very high quality synthesis of a possibly very scattered domain. A qualified individual is paid to work 5-6 years full time under the supervision of experts to produce the document.

    Considering the lack of standardized understanding of what CST is really about on the internet, I think it's a useful resource.
    Just checking - there's no trapezoids in this one? He mentions that Dmitri bloke, so I'm a bit worried there may be trapezoids.

    Yes, but reading a PhD thesis is good because they have to provide a survey of the literature... which is actually as you say really useful.

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  3. #27

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    So, here's the most interesting (to me) question raised by this thesis.

    Mozart obviously didn't use CST when writing his works (he didn't use functional harmony or Schenkerian analysis either, but let's set that aside.)

    - So - the question is, what would one hope to gain from such an analysis?
    - Is there a value to analysis beyond simply replicating the process and artist used to come up with their works?
    - Is there on the other hand a value to trying to recreate their process (given the failure rate of Necromancy)?

    He says:
    The analytical and interpretive choices I make are attempts to figure out what classical musicians tend to imagine and attempts to figure out which imaginations tend to be more rewarding to those musicians.

    Hmmm.

    But here's an interesting thing... we think of
    C F# A D
    today as a third inversion D7 (this interpretation began with Rameau.)
    Jazzers might think of it as a Lydian chord
    In figured bass its written 6 #4 2 - so maybe he's onto something.


    Anyway I'll read some of the rest of it and see what I think.

    EDIT: I think I have lost the will to press on with this one. I just don't care enough. Sorry.
    Last edited by christianm77; 10-19-2020 at 05:38 PM.

  4. #28

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    Quote Originally Posted by christianm77
    So, here's the most interesting (to me) question raised by this thesis.

    Mozart obviously didn't use CST when writing his works (he didn't use functional harmony or Schenkerian analysis either, but let's set that aside.)

    - So - the question is, what would one hope to gain from such an analysis?
    - Is there a value to analysis beyond simply replicating the process and artist used to come up with their works?
    - Is there on the other hand a value to trying to recreate their process (given the failure rate of Necromancy)?
    Probably not, but it doesn't matter - the dude earned his PhD and doesn't ever have to worry about this again.

    The PhD should help him secure/keep teaching gigs, plus he can now insist that his students refer to him as "doctor".

  5. #29

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    Robert Levin is a bad motherfcuker

  6. #30

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  7. #31

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    Quote Originally Posted by GTRMan
    PhD theses are often a stretch, but what can you do in a world where just about everything has been covered academically, unless it's related to leading edge technology in some form or fashion.
    I tried to make my own readable and entertaining, if nothing else. Now I am stuck here editing other theses for money. Most are very dull and, as you say, a stretch.

  8. #32

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    Quote Originally Posted by Litterick
    I tried to make my own readable and entertaining, if nothing else. Now I am stuck here editing other theses for money. Most are very dull and, as you say, a stretch.
    True as it is, they're still much better prepared than Masters degree papers, which is as far as I went. Then we have "white papers" that people throw out there on the internet which are frequently self-serving and amatuerish.

    So it's all good.