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Messages - Helmholtz
« on: September 06, 2008, 03:01:55 AM »
I can't think of any examples of counterpoint in metal between two guitars. In what sense are we using the word?
My assumption is counterpoint in the sense of two distinct melodies being played at the same time, the effect being they play off of each other but could easily be played on their own as well. Counterpoint in metal between two guitars? Demilich, At The Gates, Crimson Massacre all have examples of this in their music.
Indeed, dualism often necessitates the construction of many false dichotomies, and as we can see here, a metaphysical sort of dotted line that says "love stops here, hate begins here". Obviously for the two concepts to be separate they need differences, and they exist, although the line is not so clear as a dualistic perception would have it. Love and hate are hardly black and white concepts, and really the intense sense of fascination that both involve means that that each can become the other easily. One's intense sense of love for a person for example, can create an idealistic picture in the mind which is then never fulfilled in real interactions with the person, then the fascination continues but the feelings about the person become negative, one might begin to hate a person based on them not living up to love's idealistic mind-portrait. That is just to illustrate that the "energy" of the emotion, so to speak, is transferable. Now, as for measuring John's hatred for himself, I still say that self hatred would ultimately equal the urge for self destruction.
A good example of writing music beyond one's technical abilities would be Absurd's pre-Werwolfthron work. The melodies are beautiful, the only hindrance is the technical incompetence, one imagines them hardly able to finger the chords properly or keep in time (for a direct example, "Requiem" the one recorded in prison). The point is though that they were clearly working on some projection of the music that was inside their minds, and the result was that although they were hardly able to play it, the melodies are visible, simply in a sputtering signal hampered by inept instrumental training. To really listen to music, one has to disregard technical skill, disregard production, disregard everything except the music. Obviously, the non-critical elements can be beneficial to better expressing the music's ideal form, but it's not necessary. In fact, even disregard the instruments. To quote Joseph Haydn "If you want to know whether a melody is really beautiful, sing it without accompaniment". If a melody does not sound beautiful on the human voice, why would the instrument change anything? If the melody itself is the most important part, one's ability to play it is a good thing, but playing a boring melody well is worse than playing a beautiful melody poorly.
Hate and Love share one attribute among a few : they are an intense focus of emotion on a person/thing/etc. So first off, they are not polar opposites, as mentioned before. They both involve an intense sense of fascination. Now, concerning Persons A, B, and John, isn't it possible that John does not truly hate himself but conciously presents it to himself that he is, in order to gain gratification from a sense of doing something? If he is say fat, and doesn't want to do anything about it, won't "hating" himself provide the necessary illusion for him to live sanely while not changing anything? Perhaps the "hatred" gives him a sense of comfort. True hatred of oneself would imply attempting to destroy oneself ultimately, so perhaps no one truly hates themselves, but instead tries to make themselves believe that they hate themselves in order to sustain the illusion of possible improvement and defending their comfortable ways.