Sex and the mordent

[Sean]

Mordent-type movement up away from and back to a note characterizes some of the greatest music, for instance in Bach's Fifth cello suite sarabande or Wagner's soaring redemption through love motif, as well as some folk musics; also Pachelbel's Canon, and Glass's sexualized Dance No.1.

This self-referentiality encapsulates music's and art's various movements away from and back to its point of departure, and the orgasmic momentary movement of the relative mind to the absolute and back; in the mordent the relative finds the absolute within itself and expresses meaning lying in the gaps between logical propositions, or musical repetitions, as the mind refers to its level of intuitive perception in its process of understanding.

Indeed art music is grounded in tonality's self-referential and common sensical, rather than theorized, justification of its parallel between acoustic and subjective consonance- sounding right because it sounds right because it sounds right, as expressed in minimalism's repetitions...

[Archaic Torso of Apollo]

I look forward to future installments in this series: "Sex and the grace note," "Sex and the trill," "Sex and the crossed mordent," and "Sex and the gruppetto," the last-named offering especially salacious possibilities.

[Cato]

Salvador Dali was already in this territory decades ago with his invention of the Chinese Masturbatory Violin!   

[Brian]

I look forward to future installments in this series: "Sex and the grace note," "Sex and the trill," "Sex and the crossed mordent," and "Sex and the gruppetto," the last-named offering especially salacious possibilities.

I was hoping for "Sex and the mordant," myself.

On a related note: Best pick-up line ever: "I'm a fermata. Hold me."

[karlhenning]

Oh, how droll.

Next time I meet with my flute-playing friend, I'll tell him, "Whenever there is an ascending minor sixth, that represents a French tickler; play it with a little waggle in the air column."