Friday music – Funk

Friday music – Funk

Funk:1. Music
a. An earthy quality appreciated in music such as jazz or soul.
b. A type of popular music combining elements of jazz, blues, and soul and characterized by syncopated rhythm and a heavy, repetitive bass line.
c:..that which appears after typing ‘Jazz, Flu, Virus’ on Youtube between one cough and another because, well, you feel sort of like a pea and potato puree left outside the fridge overnight and, well again, typing Jazz, Flu, Virus on youtube at that point doesn’t seem irrational…
c…quello che appare quando digiti ‘Jazz, Flu, Virus’ su youtube tra una tosse e un’altra perché ti senti come una puree di patate lasciato fuori tutta notte e non ti va di fare qualcosa di meglio.


Weekend Recipe – pasta noir: Mozart’s Vegetable and Salmon Pasta Minuet (263 this month)

Mozart’s Pasta Minuet

“I am happier when I have something to compose, for that…is my sole delight.” Letter to his father.

300 grams of short pasta
2 medium zucchini
1 bunch of fresh asparagus
1 small bunch of dandelion greens
1 small package of smoked salmon
3 medium tomatoes
2 cloves of garlic
Olive Oil
Dill Weed
Sesame Seed

Serves 3.

With a small precise knife, cut the zucchini, asparagus, greens, tomatoes, smoked salmon and garlic into tiny little pieces.  Put olive oil into a skillet and heat until it starts to merrily pop.  Add tiny pieces of garlic, zucchini and asparagus to the mixture and using two well-tuned wooden spoons, toss vigorously in the air as they are cooking.  The kitchen should be alive with tiny pieces of vegetable flying all over the place.  Don’t worry if some escape from the pan.  Enough will remain to blend harmoniously with other ingredients.
When the pasta is close to done, add the greens, tomatoes and salmon to the sauce, again using spoons to toss gleefully into the air, creating a quick colorful succession of tiny little pieces bobbing up and down, to and fro.  For added variety and flavor, add dill weed and sesame seed, allowing them to join the lively dance in the kitchen.
When pasta is done, strain and add to the sauce.  Open a sparkling red wine that fizzes and bubbles in counter time as you vigorously toss pasta and sauce with the wooden spoons to mix.  Serve immediately, ignoring critics who accuse you of using too many ingredients. -by Susan Cook

The real recipe: Slice the garlic and sauté in a pan with some olive oil. Add the asparagus pieces, beginning with the stems, then the tips and finally the chopped zucchini. Season to taste. Boil the short pasta, butterfly or penne. When the pasta has only a few minutes left to boil, add the peeled and seeded tomatoes, then the roughly chopped greens, and herbs to taste. Drain the pasta and mix it into the sauce, adding the pieces of salmon and a very little bit of extra-virgin olive oil. Serve with something that fizzles. 

Friday Music. Old Notes: Lockwood, entropy and consciousness

Old notes: Friday Music. Lockwood, entropy and consciousness


Settimana di 4. In concerto all’Accademia abbiamo sentito una buona interpretazione delle quattro stagioni. Mentre passeggiavo ho visto le quattro fontane (Roma) mentre andavo ad informarmi di una cosa. (Una tassa. Managgia, dovrò pagare 4 anni di arretrati. Che botta.) 4 volte ho preparato e mangiato spaghetti con la bottarga di muggine e fiori di zucca (la prima per essermi sicuro, poi 3 per il gusto.) Ho impaginato, cliccando troppo con la mano destra finche quasi non la sento più, e pubblicato la quarta parte del ‘151 Zattere’.

Didier ho visto suonare solo due volte. Pero la prima volta in dietro le quinte – lui suonava le quattro stagioni per riscaldarsi prima del concerto. (L’autunno.) Dopo il secondo concerto -anni dopo – lui e venuto a mangiare nello stesso ristorante dove mangiavamo noi. (Anche lui ha preso le cozze. Poverino. Non e che c’era tanta scelta. Mi sa che ama il mare, e il secondo concerto ha avuto luogo nel Vallese in Svizzera. Moules e frites.) Così si può dire che l’ho visto in 4 posti diverse. In ambedue i concerti ha suonato questo pezzo, non tra i miei favoriti, ma ha funzionato come intervallo e per altre cose, (tutti e due i concerti erano dedicati a Grapelli, il primo dal vivo, il secondo dopo) ad esempio su come può essere allargato
il concetto di violino come strumento.

Non spiego perche, ma il mio identificare ‘4’ come tema, e imaginando un po’ quello che sta passando per la testa di Ponty mentre suona, mi spinge a pensare un po’ di più una cosa. Non spiego perché, ma mi sa che la coscienza può essere descritta come un’espressione di entropia.

Per la musica, cliccare sotto…



Friday Music: Trading 4’s

old notes – The Musical Brain: Novel Study of Jazz Players Shows Common Brain Circuitry Processes Both Music and Language

Researchers scanned brains while musicians “traded fours”.

The brains of jazz musicians engrossed in spontaneous, improvisational musical conversation showed robust activation of brain areas traditionally associated with spoken language and syntax, which are used to interpret the structure of phrases and sentences. But this musical conversation shut down brain areas linked to semantics — those that process the meaning of spoken language, according to results of a study by Johns Hopkins researchers.

The study used functional magnetic resonance imaging (fMRI) to track the brain activity of jazz musicians in the act of “trading fours,” a process in which musicians participate in spontaneous back and forth instrumental exchanges, usually four bars in duration. The musicians introduce new melodies in response to each other’s musical ideas, elaborating and modifying them over the course of a performance.

This is a picture of Louis Armstrong.

The results of the study suggest that the brain regions that process syntax aren’t limited to spoken language, according to Charles Limb, M.D., an associate professor in the Department of Otolaryngology-Head and Neck Surgery at the Johns Hopkins University School of Medicine. Rather, he says, the brain uses the syntactic areas to process communication in general, whether through language or through music.

Limb, who is himself a musician and holds a faculty appointment at the Peabody Conservatory, says the work sheds important new light on the complex relationship between music and language.

“Until now, studies of how the brain processes auditory communication between two individuals have been done only in the context of spoken language,” says Limb, the senior author of a report on the work that appears online Feb. 19 in the journal PLOS ONE. “But looking at jazz lets us investigate the neurological basis of interactive, musical communication as it occurs outside of spoken language.

“We’ve shown in this study that there is a fundamental difference between how meaning is processed by the brain for music and language. Specifically, it’s syntactic and not semantic processing that is key to this type of musical communication. Meanwhile, conventional notions of semantics may not apply to musical processing by the brain.”

To study the response of the brain to improvisational musical conversation between musicians, the Johns Hopkins researchers recruited 11 men aged 25 to 56 who were highly proficient in jazz piano performance. During each 10-minute session of trading fours, one musician lay on his back inside the MRI machine with a plastic piano keyboard resting on his lap while his legs were elevated with a cushion. A pair of mirrors was placed so the musician could look directly up while in the MRI machine and see the placement of his fingers on the keyboard. The keyboard was specially constructed so it did not have metal parts that would be attracted to the large magnet in the fMRI.

The improvisation between the musicians activated areas of the brain linked to syntactic processing for language, called the inferior frontal gyrus and posterior superior temporal gyrus. In contrast, the musical exchange deactivated brain structures involved in semantic processing, called the angular gyrus and supramarginal gyrus.

“When two jazz musicians seem lost in thought while trading fours, they aren’t simply waiting for their turn to play,” Limb says. “Instead, they are using the syntactic areas of their brain to process what they are hearing so they can respond by playing a new series of notes that hasn’t previously been composed or practiced.”

link- trading fours: 

comment – ..more than Pinker’s auditory cheesecake, music I suppose is at least a stratified, complex dessert or meal transmitting more information more universally (intrinsically) than more abstracted and culturally influenced/derived narrative methods like words. At some point not so far ahead, emerging neuroscience theory will have to include plural and parallel representations in emergent behavior – even though there remains variably influenced hierarchies in the path to expression, – and take into more account the oddness and determination of time, contexts, entropy and the usually counterintuitive sticky aspect of information.