Found 394 results
Found 394 results
i am aware that this isn't a haiku by any definition, i was stoned and counted wrong. I'm just saying as long as it has 17 syllables it can be called a haiku. didn't need all these people to fill me in on things I already knew.
"supposed to be". supposed by who? one reason most people aren't into poetry is the loads and loads of pretense surrounding it, pretense which is promoted ceaselessly by some of it's supporters and practitioners. I write words sometimes, I wrote these ones wrong because I got high. what do you call a 17 syllable poem? idk, haiku? sounds good to me.
nothing is good or bad, right or wrong.
everything that exists is subject to your perspective, and as long as all perspectives differ there can be no universal truth. no right way and also no wrong way.
murder is only wrong because most people think so. logic is a defense mechanism we all agree on. everything is choice and nothing is sacred.
i'll stop now.
The imagery was nice, but there isn't much to this. I'm not trying to be a d1ck but I didn't really draw any kind of emotion from this.
I'm saying it can't be measured, for it is subjective. If someone mindlessly plays a bend with a nice vibrato on it, someone might perceive it as emotional, even though the artist has put no emotional input into it whatsoever. In the same way someone could put feeling into their playing and the listener receive nothing from it.
It's all in the listener.
i just tuned my guitar to this and realized i did it with absolutely no idea what i would do with it.....
You killed this track.
A5(#11) says I.
Name that chord thread next time.
The physics of how musical instruments are designed has nothing inherent do to with music. Music is not used to calculate anything and there are no musical formulas that you use to solve specific problems. Music is an art form and the earliest known musical instrument: the human voice, needs no designing. Indigenous musicians thousands of years ago were not obsessed with mathematics at all I'm sure. It's idiotic to say music and mathematics don't have a lot in common, but neither is derived from the other.
I feel sorry for you if you truly believe that, you must not enjoy listening to music at all. But to avoid being presumptuous I will, paradoxically, presume you are simply interested in mathematics and its relation to music. As I said, I don't think the two are mutually exclusive at all.
Hey Xiaoxi I'm going on holiday for the next three weeks so I'd appreciate it if you could keep putting up the links to these threads in your signature and I'll catch up when I get back.
The earliest found instruments date well over 20,000 years ago, made by beings that hardly had the ability to communicate, let alone temper an instrument based on specific intervals. And even then, the idea of equally tempered instruments doesn't come along until well into the Common Era.
Anyways, on topic, this thread is awesome, I'll be sure to watch in the days to come.
Technically a computer is something that computes. Modern PCs have very little to do with actual computing though. They are used for a myriad of purposes. Some view music as a mathematical experiment, but that is not what it is at its core. It can be explained by mathematics just like all physical things but it is first and foremost an art and a form of entertainment. Music predates advanced mathematics so it doesn't make sense to say one is based on the other.
I study maths, and to be honest maths being applied to music doesn't really work.
I'm intrigued by this though.
if you can hear a C9, you let me know.
edit: okay, so a C9 is audible. but still.
I can't help but feel that the use of the :, / and the  are simply there to add a feeling of pseudo deepness when in reality they mean nothing, they are unpronounceable save for the : which is simply a pause, which you've used in the wrong context grammatically. Nothing is added by using these apart from making you look slightly more douchey than you did before.
Though if you remove these, the work isn't too shabby at all. I quite like it. But the first thing I saw was needless punctuation.
an ethereal orange was scattered on the water
though the sunlight had dipped below the reaches of the river,
and katherine sat feeling time growing thinner
under the chatter of the gods, above the murmur of monsters This stanza seems a little unsure of itself to me. It feels rhythmically solid, but the inconsistent rhyming, especially upon transitioning into the next stanza, kind of holds it back. Overall though, still a solid stanza.
she lay on her back with her ears on the ground
letting whispers and shrieks bubble up all around,
which with a terrible thunder came crashing down
and surrounded her with shards of solid sound I feel like this stanza has the exact opposite problem: the rhyming is consistent and solid, but the meter of the last line doesn't fit.
and from up in the clouds in a flash of white light
an army of kaleidoscope eyes came into sight I feel like perhaps "entered" would work better than came into, simply for rhythmic purposes. Just my opinion though.
and katherine saw dimensions writhing inside
as they carried her upwards towards the open sky. Still a solid stanza. I enjoyed some of the more interesting imagery.
she fell onto the carpet of her living room floor
and watched a man walk in through the door
who said that he had heard a crashing sound
and asked why she was lying on the ground Perhaps "upon" could replace "on," in order to keep the meter consistent. Otherwise it throws the reader off; it threw me off at least.
when no answer came he offered her a cup of tea,
said supper would be chips and beans
and he asked her if she was really watching the telly
before changing the channel to the bbc. I feel like the first line here is a bit too long, and that the second is too short. It's rhythmically confusing. However, I still think this is a fantastic ending, especially the last line.
I'm working up to writing a proper short story about a girl who takes acid and enters a different world and lives out the rest of her life there.
Technically, it's an onomatopoeia since djent is a sound.
Isn't it to-u-kyo-u, as written with the actual hiragana? I know when the Japanese say it the "u" is almost non-evident, but I figure that's just the altered pronunciation that all races tend to do to their words.
Can we rid this board of this flatulent ignorance? Please?
I'm having trouble with the 'meter' idea - there's no real pattern to it, and it makes for an awkward read, which twists up the diction into a spongy mess, and I'm not sure what to do with 'corpuscular.' It's like wasabi mayonnaise to accompany your tangerines.
last autumn – a time untouched by one's years
spent fondly beneath tall oaks' shade and tears
blond sunshine and bark, nostalgia in warmth
from corpuscular rays through blue skies clear
knotted twisting woods form menageries
origami box, whose contents unseen,
turn time to dust (spent ages undersea)
comes the blue-green gloam; swallows evergreens
before tides, they turn, aeons pass and fleet
sodium vapour street-lamps' orange glow
illumines footprints in fresh-fallen snow
and as night retreats to indigo space
ghosts of the reveries fade; day takes hold
there's just a few of the lines. see the inconsistency? you've got the number of syllables down per line, even if you sacrifice logic and language to achieve it (was it worth it?):
starts off with last autumn, blond sunshine says we're talking about daytime. and then the woods form menageries origami box. (menagerie's origami box? menageries. origami box?) where's the article? if it's the origami box doing the turning, shouldn't it be 'turns?' this whole section leaves me baffled, wondering what you mean and why it matters.
then, all of a sudden, the sea is turning to night, and then the street lights are illumining (I highly recommend tossing that word, in this context, into the bin). and then it's day again. what have we learned? why did we read this? aesop was simple: day light night light day light night light day - so day takes hold, and changes what?
this is a decent poem - more respectable for what it attempts than what it is. if I were you, I'd do a little research into techniques and tools you can use (meter, for example), figure out what comes naturally for you, and try this a hundred more times.
p.s. sorry for the poor structure for emphases. you might take the whole poem and break it down syllable for syllable. you might discover treasure in that undersea gloam.
Also, it's the only stanza that has a clear sense of events (who/what is cassandra, and why do you only mention her/it twice? it only leaves me confused at this point.). Lastly, while I understand the purpose behind repeating "Pisces," I feel that the word's out of place in this piece. It just doesn't fit with the sort of dialect that is portrayed (in my opinion of course).I.
Was it the cassandra root? or the branch,
the switch? of course not. As my lure was lolling
and the rod I've used was a tallied upon wood scrap-
"To the river," I said, gathered hot dogs, corn,
chicken Liver and in a hurl,
pitched them in the proud wade
they were like Trout, forever
Carp or another bothered Pisces. This last bit is kind of lost on me. So you throw the food into the water? Is the analogy to fish merely superficial, or does it mean something more that is simply lost on the reader?
Whether tied, whether waist or ankle deep The second whether is just unnecessary.
I poured some store bought circle hooks
onto the ground, worm sloth
slittered o'er to that Bitty's hole, past This and the next few lines are hard to find meaning in. Perhaps it's due to my lack of Southern culturing, but it just seems like an excuse to speak from a hick's perspective.
The Landing, near the lake round
cassandra's hand a raking grasp. I
aim to catch a Scale, a Wroth,
uh Ugly Whisker
uh Arrogant Tail. The complete change of syntax and dialect in this stanza is abrupt and confusing. You go from very thought out and literary in the previous stanza to Appalachia in just a few lines.
Hookt jaw near Barn Moor,
a possible Shark or Spoonbill
out past Pabst Reef and by
Bugler's floating trash.
Possibly a body snagged;
with a hairlip fin dragging
green seagrass on her curled toes.
gibbering with other bloated Pisces
now only a blush
no longer sucking air. I liked this stanza, since I think it was a lot more successful in the Southern department.
PS. I didn't realize this was in meter, so I guess that's a bad thing.