AtDTDA 32: Fantasia on a Fantasia of Thomas Tallis Pt. 3

[Mark Kohut]

Is this multiple-voice harmony ANYTHING like the 'anarchic' dance in C of L49 in
  which no one collided with each other?

robinlandseadel at comcast.net wrote:
  Subjective/objective, ay---there's the rub. Whether 'tis nobler to accept 
the slings and arrows of "objective" consensus reality, or---thoroughly 
stoned, bring an end to this losers game of Newtonian accounting of 
sloth and slack, of good will coupled to action vs. "ojective reality."

Subjectivly, I've levitated many times. Objectivly, no one was really 
paying attention. I was free to fly at will. But only sometimes, and 
not for very long.

Speaking of objective reality, I honestly adore the piece of music 
in question. In terms of the maths theme of AtD, the Tallis Fantasia
has many voices "speaking", many of these near-vocal melody lines
threading together, like the ribbons of a Maypole [hi Geli!], interweaving 
in a pattern where all the voices can combine in the churchiest of the
eccleiastial modes, a combined "Hosanna in Excelsis", glory in the 
highest, peace on Earth, good will among men---ya know, the really 
good stuff in Christianity. Pynchon is showing how the Mother of the 
Beast [see page 666 and don't say I didn't warn ya] herself can be 
transformed by the healing vibrations of a great piece of music, more 
than a few scattered throughout Against the Day. 

Me, I'm a big fan of Mozart's K.488 muhself.

As for embeded heresy in the Bible, uh huh. . . .
-------------- Original message ----------------------
From: "Michael Bailey" 
> robinlandseadel
> > In case you haven't noticed, I'm searching for a unified field theory
> 
> Ruperta levitates during the Tallis piece.
> 
> If objective, this is a miracle.
> Even if subjective, given her nature as we've seen it,
> still something of a miracle.
> She doesn't just resolve to change her ways; we're told she does so
> (and yet, does her almost-next action, setting up Dally with Crouchmas,
> meet this new standard? It does seem less selfish - but setting
> her up with Naunt _before_ her epiphany was also disinterested...)
> 
> The power of the Williams Tallis fantasia - does it lie in the words?
> 
> Based on Psalm 2, which in its entirety is a rather
> jingoistic piece,(not as bad as the one where they break
> the skulls on the rocks, but bad enough...they excerpt
> enough to interpret differently...
> 
> Is this perhaps what you are pointing to? the embedding of
> heresy in officially sponsored utterances? Like the subtly
> altered stamps (potsmaster) of the Tristero?



       
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