Difference between revisions of "Chapter 2"
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| − | <div id="mixolydian"> | + | <div id="mixolydian">56/52 - '''Fergus Mixolydian'''</div> |
In music terminology, the mixolydian mode is a major scale with a flatted, aka minor or (appropriate to "the laziest living creature in New York") "lazy" seventh degree. | In music terminology, the mixolydian mode is a major scale with a flatted, aka minor or (appropriate to "the laziest living creature in New York") "lazy" seventh degree. | ||
| − | <div id="schoenberg"> | + | <div id="schoenberg">57/53 - '''Schoenberg's quartets'''</div> |
Arnold Schoenberg devised serialism, a new approach to organizing musical notes that doesn't rely on the diatonic scale (with its whole and half steps giving certain notes prominance over other notes and creating tonal polarization). According to strict serialism, all twelve notes of the chromatic scale are used, arranged in rows, and each note in the row must played in order. Thus, all the notes have equal weight, and by analogy serialism can be seen as entropic in that it moves from the asymmetry of tonal polarization towards symmetry and equality of notes. As Gustav Schlabone says in [http://gravitys-rainbow.pynchonwiki.com/wiki/ ''Gravity's Rainbow''] about another German who pushed the envelope, "[Beethoven] represents the German dialectic, the incorporation of more and more notes into the scale, culminating with dodecaphonic democracy, where all the notes get an equal hearing." (440) If one played all the Schoenberg quartets (as the WSC does at their party), beginning with the D major string quartet (1897) and ending with String Quartet No. 4 (1936), a progression from lower to higher entropy would be traced. | Arnold Schoenberg devised serialism, a new approach to organizing musical notes that doesn't rely on the diatonic scale (with its whole and half steps giving certain notes prominance over other notes and creating tonal polarization). According to strict serialism, all twelve notes of the chromatic scale are used, arranged in rows, and each note in the row must played in order. Thus, all the notes have equal weight, and by analogy serialism can be seen as entropic in that it moves from the asymmetry of tonal polarization towards symmetry and equality of notes. As Gustav Schlabone says in [http://gravitys-rainbow.pynchonwiki.com/wiki/ ''Gravity's Rainbow''] about another German who pushed the envelope, "[Beethoven] represents the German dialectic, the incorporation of more and more notes into the scale, culminating with dodecaphonic democracy, where all the notes get an equal hearing." (440) If one played all the Schoenberg quartets (as the WSC does at their party), beginning with the D major string quartet (1897) and ending with String Quartet No. 4 (1936), a progression from lower to higher entropy would be traced. | ||
Revision as of 21:18, 15 May 2007
- Please keep these annotations SPOILER-FREE by not revealing information from later pages in the novel.
In music terminology, the mixolydian mode is a major scale with a flatted, aka minor or (appropriate to "the laziest living creature in New York") "lazy" seventh degree.
Arnold Schoenberg devised serialism, a new approach to organizing musical notes that doesn't rely on the diatonic scale (with its whole and half steps giving certain notes prominance over other notes and creating tonal polarization). According to strict serialism, all twelve notes of the chromatic scale are used, arranged in rows, and each note in the row must played in order. Thus, all the notes have equal weight, and by analogy serialism can be seen as entropic in that it moves from the asymmetry of tonal polarization towards symmetry and equality of notes. As Gustav Schlabone says in Gravity's Rainbow about another German who pushed the envelope, "[Beethoven] represents the German dialectic, the incorporation of more and more notes into the scale, culminating with dodecaphonic democracy, where all the notes get an equal hearing." (440) If one played all the Schoenberg quartets (as the WSC does at their party), beginning with the D major string quartet (1897) and ending with String Quartet No. 4 (1936), a progression from lower to higher entropy would be traced.
| Chapter 1 In which Benny Profane, a schlemihl and human yo-yo, gets to an apocheir 9/1 |
Chapter 2 The Whole Sick Crew 44/39 |
Chapter 3 In which Stencil, a quick-change artist, does eight impersonations 61/59 |
Chapter 4 In which Esther gets a nose job 95/97 |
|---|---|---|---|
| Chapter 5 In which Stencil nearly goes West with an alligator 111/115 |
Chapter 6 In which Profane returns to street level 134/141 |
Chapter 7 She hangs on the western wall 152/161 |
Chapter 8 In which Rachel gets her yo-yo back, Roony sings a song, and Stencil calls on Bloody Chiclitz 213/229 |
| Chapter 9 Mondaugen's story 229/247 |
Chapter 10 In which various sets of young people get together 280/305 |
Chapter 11 Confessions of Fausto Maijstral 304/333 |
Chapter 12 In which things are not so amusing 347/385 |
| Chapter 13 In which the yo-yo string is revealed as a state of mind 367/407 |
Chapter 14 V. in love 393/437 |
Chapter 15 Sahha 415/461 |
Chapter 16 Valletta 424/471 |
| Epilogue, 1919 456/507 |
