Over the course of the summer, I completed a few different creative projects. The first one was a transcription of Bach’s famous Passacaglia and Fugue in C Minor BWV 542 from organ to solo piano. The second project was an original trance track called “Arapahoe Wind” that featured orchestral breakdowns and some real wooden flute playing. The third project was a transcription of Buxtehude’s Chaconne in E Minor BuxVW 160 for two pianos. There are many more dance projects that are still in the loop stage, and due to a volume of other work I had to do for students as well as launching some websites, those are on the back burner for now. The other projects I completed were mostly recordings of songs for vocalists I’m working with, so that they can use them as practice tracks with their parts played out for them and the accompaniment. Despite that, I managed to write a few thousand measures of music across different styles this year, and now that I don’t have to worry about my honors thesis, and soon my other web projects will be done, and I can thankfully continue to work on music and finish up all the dance tracks I wrote so they can be published in 2020 after some rebranding efforts.

I follow a simple creative process. In fact, there are only really three steps I follow, called PIE: Plan, Implement, Evaluate. Anyone can follow these steps. I want to devote most of this post to the evaluation stage, because that stage is the most demanding and hardest out of all the stages. My friend who is a wonderful trumpet player asked me in depth questions about the evaluation of my work, so I thought if it was interesting for him to hear about, I thought I’d share most of that step with anyone who reads my blog.

Plan

Anyways, first, I plan out time to complete the project and balance it with the other work I committed too. Paid work generally takes priority over work I do for my own enrichment, so a project may be delayed if its profitability is lower than a paid project. During planning, I weigh the amount of time I have for a project versus the amount of time my teaching schedule allows, the work I’m doing for other people allows, as well as maintaining my health through yoga classes and gym time and seeing my friends outside of work so I don’t go insane (assuming I’m not already there). Usually I have about four hours of solid work time every day that I can allot to working on projects.

Implement

Second, I implement the project. That is, I start to do it. I work on projects no matter how I’m feeling. A lot of people will be surprised know that my musical output has nothing, if anything, to do with my emotional state or life experiences. It has to do with, well, the music. If I wake up in a bad mood and I’m working on a happy piece, you won’t hear it in the piece. Since projects usually take up a few weeks of time to complete, my daily moods simply cannot enter the music. Otherwise, the piece would end up being a haphazard collage of me feeling sad, me feeling burned out, me feeling excited, or me after drinking my fifth cup of coffee. No one wants to hear that. Consequently, I completely separate myself from the music that I make, whether its classical, jazz, electronic, or the commercial stuff that supplements the better work.

I also stopped writing about experiences I had in my life in my music. When I was younger, I only wrote musical narratives about what happened in my life. The pieces might have well been little vignettes about me going to school, travelling, going to shows and parties, and whatever else. I stopped doing this because my music had a limiting appeal. If I only write about myself, then the only person who will identify with the music is me, or people who feel similar emotions to the ones I do. While I don’t think that there’s anything wrong with that, I wanted to have a wider musical reach and devote the music to more interesting topics. Instead of writing about some music festival I attended, why not write about a feeling or sensation that more people can identify with? What about the creation of the world, or how people fall in love, or what it feels like to be abandoned, what it feels like to be elated? These are bigger, sexier, more applicable topics to other people. After I made that decision, my reach increased with the musical quality.

Anyways, implementing the project is usually pretty easy, provided I sit down and do it.

Evaluation

The last step is the evaluation stage. When I evaluate a project, I ask the following questions:

  • What is the overall quality of the music? How does this compare to what’s on the market? How does this compare to what I did in the past?
  • What is the quality of the product? (Is it engraved well? How is the engineering?)
  • What went well about this project? What went poorly about this project?
  • What was the most significant challenge? Did I overcome it? How will I adapt to this project in the future?

I’m going to be as transparent as possible and not withhold anything, except the projects themselves since they are awaiting publication. If you want to get a copy or something, you can always contact me and I’ll send it over.

Since this post is already too long, I’ll only talk about the Bach transcription today.

Musical Quality

The music is very high quality. Obviously, it should be. Bach wrote it a few centuries ago in organ tab, and somehow it made it into me today, so it clearly has some staying power. It is among the greatest pieces ever written in music. It encapsulates many tone-colors and emotions, while incorporating dissonance in an inventive, sexy way. It inspired me to complete the project. So, the music is very high quality.

Product Quality

The engraving is adequate. It was challenging to engrave this piece since there is just so much information in the score to get across in a very limited space. The right hand has to play three voices simultaneously, and many times the middle voice switches between hands. Balancing this information in a readable way was quite difficult. Once a staff has more than two voices playing simultaneously, it gets quite hard to read no matter what kind of engraving tricks you have in your toolbox. To mitigate this issue, I mostly combined the multiple voices into two voices per staff. This was done at the expense of someone who wants to analyze the piece, because the voices in the double-fugue are blended together for readability because I thought that was more important than someone who needs to know exactly what the soprano voice does at all times.

What went well? Poorly?

What went well were the interpretive notes I made to Bach’s music. It was very freeing to be able to do whatever I want. In piano lessons, sometimes I had debates about the proper way to play Bach with my teacher. In fact, most of the times the debates would end with him saying quite honestly “well we don’t know what he thought, so if you think it sounds better then play it that way.” And I did, and most of the time it sounded better. My interpretation of Bach is largely based on what the great Russian masters of the past did anyways such as Richter, Gillels, Nikoleyeva, and Yudina compared to the pale, kitschy interpretations that modern artists usually present. Lionel Rogg and Czerny’s editions of Bach’s scores specifically shaped my playing of Bach’s music and how I crafted the interpretive marks on my transcription. To have the freedom to experiment with my favorite music is heaven to me!

What went poorly was the act of engraving the piece. I am a Finale expert. I used Finale since 2003 and when I was in high school my composition teacher had me hack Finale’s font and measure systems so that we could write scores in modern notation together. While, in practice, those experiences are honestly useless for anything that’s going to be played by another person ever, it did teach me a lot about Finale’s architecture and how to get the result I want. Engraving the transcription was troublesome because of bugs in Finale and how Finale’s defaults work. For some reason, caesuras I placed in measure 15 (for example, don’t quote me on this) would move around when I moved notes in measure 203. The result was that, after lots of time adjusting all the notes to what I want and revising them, caesuras would be in the middle of the page, which is simply unacceptable notation.

 Finale’s defaults are geared towards someone who needs to write a lead sheet before church service, with big friendly printing and lots of space between notes, not someone trying to make an organ piece into a piano piece. I spent so much time adjusting beams, manually adjusting the heights of the notes, that I spent most of this project fighting Finale instead of writing music. I started to question the value of notating things digitally when I had to adjust the piece measure by measure, and line by line over the course of hundreds of measures.  

Most significant challenge?

The most significant challenge was figuring out how to make an organ piece playable and easy to play on the piano. I purposefully wrote this transcription in a way that any advanced pianist could play it. I think that a student could learn it as early as high school, if he’s the type of student that already has a few Beethoven sonatas and Chopin etudes in his repertoire. That took much more thought on my end to accomplish. Most of my writing sessions were spent trying out different fingering combinations and different leaps, different placements of the alto or tenor voices in the left or right hand and figuring out how to make it intuitive. I did not write fingerings in this piece because I designed it in such a way that there is a maximum of two fingering options to play it. Consequently, each single measure is the result of about a half hour, or more, of work toying with all the different options on my own, then comparing it to the previous and subsequent measure to make sure that the musician who plays it can intuit the fingerings and the gestures easily.

The reason why I did this is because I want a lot of people to play this piece. If it’s too hard, no one will want to play it or spend the time learning it. If it’s too easy, a serious musician won’t take the time to study it. I want to make sure as many people can play my transcription as possible, so they can develop the same love for the piece that I have. Bach’s harmony is a joy to hear and analyze, but you don’t understand it until you can touch it and go to the place he went to when he wrote it.

The reason why I didn’t go to your show is that I hate you. I hate you, I hate your music, and I think you’re the biggest scumbag to walk the planet. Your personal tastes are garbage, and, on a good day, your “band” might sound like the fifth-grade band at the school just up the way. Wait, scratch that. Screw you and your band. I’d rather see a group of fifth graders struggle through “Hot Cross Buns” than listen to your group of wannabees. What do I hate the most about you? You have the narcissistic audacity to call the unprofessional, screaming banshees that you assembled with the assistance of of Craigslist and terrible taste on your side “musicians.” Merely sharing that job title with you is enough to make me want to quit music and apologize to the general public on behalf of musicians everywhere that you exist. You sicken me.  

In all seriousness, I didn’t go see your show because I had no idea it was happening! I really hadn’t the faintest idea. Why does this happen? After all, a large part of any musician’s leverage is draw. So wouldn’t someone who wants to do grow their music career put effort towards their draw? Or, have some marketing power when it comes to other projects that they’re a part of? Where does this this power come from? And where does it go when it’s not engaged properly?

It is true that most musicians would want to focus on their draw. There are a few ways to increase one’s draw which are unfortunately rarely employed by players. One way is to promote shows according to a schedule so people can mark the date on their calendars and make sure that they show up. I am a big fan of the four-week promotion plan. One month away from the event, or preferably sooner, people are notified about the date, and they can mark it on their calendars. During the weeks up to the performance, audience members are reminded of the show date through multiple channels. Email blasts, text message blasts (although antiquated right now), flyers, and social media posts tend to help this. Then, the day of the show, there are going to be at least a few people who show up and are willing to buy tickets. I see a lot of clubs using this method, where shows are announced even a few months before the show date. This allows people to plan on actually showing up, instead of throwing a haphazard event on the internet.

Promotional things usually get lost among the vast amount of digital noise on the internet. There are a lot of musicians who I actively follow on social media and I just don’t see their posts. I’m part of a lot of groups, and the group posts tend to take up most of my feed. The other posts that take up most of my feed are promotional posts of some kind, or unpleasant political posts. It’s rare that I actually see content that’s relevant to me, including posts from people I respect and want to engage with. Sometimes I’ll go to a musician’s profile, only to see a listing of all the gigs they played that month. I’m not sure how they expect me to attend any of them, since I wasn’t told directly, and I usually can’t make it after the show already happened. Email blasts are a great way to mitigate this because

Another way to improve attendance numbers at a show is to increase the quality of the music. This is probably the most obvious step in a musician’s career, but ironically most musicians do not focus on it. It is easy to read some blog posts about music industry tips and apply the business tips to one’s own career. Unfortunately, without quality music, these tips aren’t very relevant because people are not interested enough in the product to go spend time and money to engage with it. A product must reach a certain threshold of quality before others will enjoy it. While there are multiple interpretations of what good music is, there is a certain class of music which is enjoyed by millions of individuals that exceeds the quality standards that most local musicians are capable of.

Before we discuss these characteristics that have to do with a piece of music’s perceived quality, I’d like to briefly add that I’m writing very loosely about what these characteristics are and where they exist. Discussing music is challenging for all sorts of reasons, but the most significant challenge to writing about music is that it is an inherently invisible artform, and the traits are determined after the musical experience ended. Music is a time-based artform, so attempts to condense complicated musical ideas into a time-less medium, such as writing, should always be taken with some doubt. When we write about music, we have to “freeze” it in a certain sense, and through the process of this “freezing” we run the risk of distorting the reality of the music itself and how listeners engage with it. Also, the boundaries that I use to divide these ideas are porous at best, and non-sensical at worst. This is a topic that I will come back to in more depth in later posts, such as where musical properties and stylistic practices exist outside of someone else writing about them at a later date. But, we’ll talk about those things later on.

Most of the issues I see with performances involve precision. Many people play without attention to maintaining the pulse. It is important to maintain the pulse among all the players in the band. Many times, I see a show, to hear that the vocalist, bassist, and drummer have a different interpretation of the beat. Other times, the instruments are badly turned, or the balance of the group is off. Sometimes the bassist is incredibly loud or the pianist wants to redline his amp. Either way, it is not very pleasant.

In addition to these lower level issues, there are some aesthetic issues that often negatively impact a musician’s draw. The most common issue I’ve identified is that the music can sound generic. What do I mean? Well, when music sounds generic, it lacks that special quality that separates it from other players. For instance, a jazz group playing at one hotel likely sounds like it’s made up of the same musicians as a jazz group playing at another hotel even when they’re different people playing at different times. The issue is that, instead of using the music as a vehicle for artistic expression, it is used to play another night and make a few extra bucks or drum up some business. Musicians often think about music in terms of traits. So, jazz (or other styles) ought to be played with x BPM, y eighth note feel, and z chord patterns and voicings based off of what their teacher or some other scholar wrote. Instead of developing their own opinions on what jazz should be, they’re simply rendering what others agree on. Consequently, the attempt at music sounds agreeable and inoffensive, without having any interesting content in it. It’s all style without content. While I targeted jazz musicians with this example, every musician must fight this type of ennui. I hear the same issue across scenes and styles. Whether it is your local, anonymous club DJ, a classical pianist, or church musician, most of the time people play music that is, well, hard to remember.

Another aesthetic issue that often negatively impacts draw is the “advanced” music. This type of music only appeals to those with degrees or years of study of music and draws upon influences that are based more on the score and academia, influences foreign to the craft of music itself. It appeals to the type of listener who yearns to hear a special polyrhythm or polytonality to check off in their head that they heard it that night. Is there anything wrong with this? No. While this music may not be to my taste, and it is certainly not how I listen to music, I’m not making the case that musicians who produce this type of content are lesser than others, or that their followers are foolish for having these tastes. What I mean to get at is how it negatively impacts concert draw. Should you be interested in increasing your draw, and your music appeals to a minority of people that have advanced training, the draw will be perpetually limited by the small amount of people who have this training. If having a large audience is not a priority for you, and engaging with others is not either, then I suppose there’s no point in changing your style. But it could be getting in the way of your career without you knowing it.

One of the first things people ask me when I tell them I’m a producer is something along the lines of “what gear do you use?” so I decided that I would devote this post to a detailed description of everything I use with short justifications on why I use it. I’d also include, well, everything on my computer, so you can have as much detail that you need.

The first half of this post will be devoted to hardware. You could potentially use it as a slightly outdated budget audio workstation guide since I had a total of zero issues working on this machine so far. The second half of this post discusses all the software I use and how I use it. If you also happen to run Windows, you could use it as a recommendation for high quality Windows software.

Before we get started, I’d just like to interject for a moment and say that I don’t have any of this memorized off of the top of my head, and I mostly pasted the information in from HWiNFO that is a free utility which lists hardware that is connected to the computer.

Hardware:

Self-Built Computer:

  • OS: Windows 10 64 Bit Home Edition (yes, Windows is just as good as the Mac for creative people)
  • Case: NZXT H320 in white (I used this from my previous build)
  • CPU: AMD Ryzen 5 2600
  • Cooler: Stock Stealth Cooler
  • GPU: XFX AMD RX 560 with 4GB of VRAM
  • Motherboard: GIGABYTE AB350M-DS3H-CF SOCKET AM4 with the AMD X370 Chipset
  • RAM: 16 GB (2×8 GB) Mushkin Essentials DDR4 2133 MHz (15-15-15-36) (I would’ve gotten faster RAM but it was very, very expensive when I built my machine)
  • PSU: EVGA 750 GQ 80+ Gold Semi-Modular
  • Storage Configuration:
    • There are four storage devices in this computer that serve different purposes. At the moment, this computer can store up to 6.256 TB, or 6256 GB.
    • This computer also serves as an archive of my career. My oldest files are from 2003 and these files are actively backed up and guarded against corruption using Macrium Reflect.  
    • Windows and my applications are stored in a 256 GB M.2 NVME Samsung EVO drive.
    • A 2 TB Seagate HDD serves as my primary storage that is used actively.
    • There are two more 2 TB Seagate HDD drives that are backups of the primary drive. I bought these drives at different times to make sure that they wouldn’t all die at the same time. A guy can dream, can’t he?
    • The drives are backed up automatically every single day with a Grandfather-Father-Son backup scheme to ensure no data loss.
    • There is also a 2TB Seagate drive, stored in a safety deposit box away from my computer or the internet, that serves as another archive of my career.
    • I don’t have any brand preferences when it comes to computer storage devices. It just so happens that Seagate ones are on sale more frequently where I live.
    • One of my favorite things about having a computer that I build myself is that I can replace storage drives very frequently. I look at all my drives like time-bombs.
  • Optical Drive: HP DVD Writer 1265t (this is way back from 2013 and sounds like a dentist drill but hey it just werks)
  • Front USB Panel: Kingwin 7x Front Panel (overkill but I felt rebellious)
  • Display: LG 27EA63 1920×1080 @ 60Hz (this one is also very old but it still works and I haven’t seen a reason to replace it yet, considering that I’m not really a gamer)
  • Keyboard: HyperX Alloy FPS with Cherry MX Blue Switches
  • Mouse: I have no idea. It’s from some Amazon store back in…2010? I wish I could tell you what it is but Windows just calls it Generic PnP Device.
  • Mouse Pad: Also very old and from…who knows.
  • Printer: Brother MFC-J53300W
  • Laptop: HP EliteBook 8540p with Intel Core i5 (I use this for my laptop needs. It’s heavy, but it was cheap and gets the work done. Also, despite dropping it, spilling coke on it, spilling coffee on it, throwing it around, and checking it in baggage a few times it still runs just fine!)
  • Other Laptop: Apple MacBook 2011 Series White (this is my white laptop that I still use on keyboard gigs, but it’s not safe to connect it to the internet anymore and it can’t run software made after 2011)
  • Tablet: Apple iPad 2018 Series
  • Phone: Apple iPhone SE

Audio Hardware:

  • Audio Interface: RME Fireface UCX (thank you scholarship!)
  • Monitors: Genelec 8250 (thank you scholarship again! Worth it!)
  • Cables for the monitors: Mogami Gold
  • Cables for everything else: too many to count/deal with all from random sources over the years
  • Hardware Synth: MicroKorg (I don’t use this anymore)
  • Midi Controller: StudioLogic Acuna 88
  • Custom Keyboard Stand (this was a gift and the brand rubbed off after all the gigs I took it to. We took IKEA shelves and placed them on the top parts for the “tower of power” look)
  • Keyboard Amplifier: Roland K-350
  • Audio Interface for on the road: Focusrite Scarlett 2i2 (the circuitry is lower quality than the RME, but it does the job)
  • Piano: Pramberger upright slightly modified by the Anteque Piano Company in Denver, CO

Non-music Software (in order of most frequently used):

  • Microsoft Office 365
  • Microsoft Edge
  • Stickies (I use these to organize everything)
  • Telegram
  • Windows Media Player
  • Clocks and Alarms
  • Discord
  • Newsflow
  • Macrium Reflect
  • 7zip
  • Adobe Acrobat
  • Adobe Photoshop
  • iTunes
  • Steam Games (I’d like to add that half an hour a week of gaming is a lot for me):
    • Audiosurf
    • Cities: Skylines
    • Counter-Strike: Global Offensive
    • Euro Truck Simulator 2
    • Goat Simulator
    • Grand Theft Auto V
    • SimCity 4 Deluxe
    • Yakuza Kiwami
  • Hexchat
  • Event Viewer
  • VLC
  • HWiNFO

Music Software:

  • Steinberg Cubase 7 (mostly using included VSTs)
  • Finale 25
  • SmartScore X2 Pro
  • Adobe Audition CC
  • Third Party VSTs:
    • Ozone 8
    • HALion
    • Synthogy Ivory
    • Spire
    • Sylenth
    • Dubstation
    • Stutter Edit
    • VPS Avenger
    • RP-Delay

Hey there! Welcome to my blog. I want to introduce myself and the types of things that we’ll be covering throughout its lifetime. I decided that I had a lot of things to write about and say that would do better in the blog format than on social media, and I got tired of social media after it started making me depressed and wasting a lot of my time. At least, when I write a blog post, I engage with writing for a meaningful length of time. But 140 character posts by a nobody that inspire conflict just seem so boring to me. I don’t know who they are, and how many meaningful ideas can be adequately communicated in such a small amount of space? And, should the ideas have some kind of value, the discourse around them will be limited by whatever is popular at the moment. The defense of the argument is not provided adequately, so people are conditioned to just take reasons as they are instead of really thinking about them.

I love blogs, honestly. They’re longer, so you have a little more time to discuss things and get into the details. I can control how the blog looks. It’s easy to read without obtrusive ads or big brother’s penetrating gaze following the mouse cursor around getting in the way of enjoying content.

Ok, so who am I, and why does my opinion matter? I’m a professional musician currently based in Denver. This means I can pay my way with music, even though most of the work is about things that would not occur to people outside of the profession, and the demands of music are impossible to meet for those without a solid mastery of the craft of music and a subsequent refinement of the soul. Some musicians may have refined technique, but their souls are brusque and misshapen, while others have beautiful souls who are unable to channel that beauty into music that other people enjoy and pay for. I won’t continue to write about these ideas here. But, if you think these ideas are interesting to think about, like I do, keep following my blog for future posts!

I’m about as multi-disciplinary as you can get. My education was a strange journey filled with egotistical teachers and students, hostile work environments, commuting, deadlines, and transcription. When I look back at college, I see myself through two phases. The first phase was the party phase. This was the phase that I will not devote a lot of time to talking about outside of this post, at least may not here publicly, because it contains a lot of information that could incriminate my friends or other people. In that period, I was in a jamband where we played four or more shows in a month for crowds of varying sizes. Most of these shows were performed on Wednesdays or Tuesdays in a house-turned-venue kind of place all around the parts of Denver where these things happen. The parts where, during the daytime, there were younger guys in tank-tops drinking tallboys in the front porches with their bulldogs, wearing large necklaces, and covered with tattoos that shared forgotten dreams or symbolized moments of time…moments that come to be and pass away in the dream world who is accessed sleeping or through another kind of sleep. Anyways, these kind of areas are harder to find nowadays that Denver is generally more affluent, but, should you have the right temperament or desires, they will find you.

I dropped out of music school. Like many parts of my life, this is filled with a special kind of irony considering how much work I’m currently involved in and how much I still loved music. But, the decision to drop out was a combination of internal and external factors. With the exception of the “party” years, I practiced a solid two hours or more of piano a day in addition to the compositions and random accompanying work I did. But, a lot of teachers at the school did not like me. I did not get along with most of the students, either. I found that my soul lacked a lot of refinement. While I’ve always been a strong player, I think my behavior was off putting. I was not a sensitive communicator at times. And, most importantly, I quickly realized the education I received in high school simply was not enough information to make in the world. I think that is a byproduct of growing up in Boulder in the 2000s. While people in previous generations learned Latin and Greek, how to produce and analyze syllogisms, history before 1850, and more languages by the time they entered a university, I knew none of these things. What I thought passed for knowledge was hardly knowledge at all, only summaries and images instead of something higher. There is still so much that I do not know. There are libraries filled with things I don’t know, and even after doing all that transcription and taking classes I feel as if I have a child’s understanding of the great works.  

I decided that being involved in this part of my life was detrimental to my academics, and I found my classes generally interesting, so, after some stern warnings from the university threatening expulsion, it was time to take my studies more seriously. So, the second part of my education was spent in the library, classroom, or computer lab. I read, I took notes on everything that happened around me, and I spent countless hours in the computer lab writing and transcribing the works of those who came before me. I have hundreds of pages of quotes gathered from novels, academic journals, academic books, all written out. I am a firm believer in the power of transcription because it brings you to the same place that the authors were when they wrote the text. I also think that this applies to music, too, so I spent a lot of time transcribing, memorizing, and learning the music of the great composers that I enjoyed.

So, after all this, I hope that you enjoy reading my blog. I have several content series planned out that will be regularly published throughout the upcoming years.

Here’s what I will cover

Repertoire Quarterly

Every quarter, I’ll post the repertoire I learned and the work that I’m currently involved in. This way, my website can serve as a dynamic CV that reflects what I’m currently doing in a pleasant format.

I will also cover the following topics. Each bullet point represents a post that will be 1000 words about each subject. We’re going to have updates every first and third Monday, starting on July 22nd.

Practice Strategies:

  • Creating and using practice calendars
  • Tear and Glue
  • Maintaining playing consistency
  • How to divide up your time
  • How to know when you’re focused
  • Sight reading strategies
  • Playing versus Practicing
  • Using time versus wasting time

Points of Frustration for Musicians:

  • Drug abuse and the musician’s lifestyle
  • Getting hired
  • Getting paid, how much, and how often
  • Promoters vs Musicians
  • Venues vs Musicians
  • Musicians vs Musicians
  • Teachers vs Musicians

Production Strategies:

  • Audio tips that got me banned from forums
  • Seeking criticism
  • Giving criticism
  • Understanding criticism
  • Branding versus content
  • Version control strategies
  • Backup Schemes for Producers

Show-business Ethics

  • The Art of Stealing
  • Negotiating
  • Financial Realities

Composition Strategies

  • Sketching using multiple piano staves
  • Staging ideas
  • Theme and variation
  • Importance of transcription

Philosophy Series

These bullets may span many posts because these issues are significantly more complex and interesting than the other subjects.

  • Issues with music and classification
  • Man and machine
  • Man and the gods
  • Music and the Daemon ( δαίμων )
  • The Invisible World: Sexuality and how we see each other
  • On education
  • On drug use
  • Planes of Existence/Being
  • Considering Forms
  • Forms and Existence
  • Issues with Academic Philosophy
  • Issues with Christian Theology
  • Language and Reality
  • Religious Experience
  • Mystical Apprehension
  • What constitutes the Soul
  • Relativism in regards to Colonialism
  • Virtue as an American