In music theory, songs like One Note Samba or Girl from Ipanema employ what is know as contrapuntal elaboration of static harmony. This means that usually the bottom note or occasionally two notes of the chord change through a series of slowly modified passing chord while the melody usually stays within a limited range, creating a smooth feel. Other examples would include My Funny Valentine or Life on Mars or the ending of Stairway to Heaven. Think C, C/B, C/A, C/A flat etc., Em, Em/D, Em/C, Em/B or variants of such.
I’d like to introduce a similar concept applicable to rhetorical BS…”contrapuntal elaboration of static hegemony.” I think that pretty much covers institutional biological psychiatry since 1980.
If only institutional psychiatry were as exciting as Coltrane changes (frequent key alterations by a major third, ie. C-Aflat-E-C etc. That’s why we don’t make “Giant Steps.”
In music theory, songs like One Note Samba or Girl from Ipanema employ what is know as contrapuntal elaboration of static harmony. This means that usually the bottom note or occasionally two notes of the chord change through a series of slowly modified passing chord while the melody usually stays within a limited range, creating a smooth feel. Other examples would include My Funny Valentine or Life on Mars or the ending of Stairway to Heaven. Think C, C/B, C/A, C/A flat etc., Em, Em/D, Em/C, Em/B or variants of such.
I’d like to introduce a similar concept applicable to rhetorical BS…”contrapuntal elaboration of static hegemony.” I think that pretty much covers institutional biological psychiatry since 1980.
One note that never changes! You stole my punch line…
Nothing stirs my nerd juices like music theory.
If only institutional psychiatry were as exciting as Coltrane changes (frequent key alterations by a major third, ie. C-Aflat-E-C etc. That’s why we don’t make “Giant Steps.”
https://www.youtube.com/watch?v=30FTr6G53VU