Just as the two axes can be said to be correlated to certain forms of visual art, so too can one correlate the two axes with forms of music or sound. In this post, I will elaborate on some representations and correlations of the two axes in music:
Sound, as a form of perceptible information, can be codified. We can think of the code by which people express sonic information as being equivalent musical theory. What is the intent of theory? To represent sound, and more importantly its possible structurings, literally. The lexical mind seeks to work with sound through theory. That is to say, it seeks solidly defined models of something by nature fluid and impressionistic, music. In its most healthy form, lexical musicians are some of the most technically skilled musicians and composers around. In its most extreme form, highly lexical thinkers may struggle to even grasp music as an impression and not as a set of models.
Onto the Y-axis and its effects on lexical conceptions of music. It can be said that the Y-axis's effect, when coupled with lexicality, is on one's attitude towards reference to theory. That is to say the vertical lexical views theory as a guide to be followed and the lateral lexical a guide to be subverted. Note: both vertical and lateral lexicals share the same framework
The vertical lexical's composition is marked by its convention. One could accuse this quadra of being unmusical and why this may be true to an extent, I think they shine through in two ways: Classical music and pop producers. Traditional pop a la Frank Sinatra could also be said to be vertical lexical due to its conventional songwriting however, this approach does blend in a fair bit more impressionism. At its best, the music of vertical lexicals is skilled and pleasant. At its worst, contrived and boring.
The lateral lexical's composition on the other hand is marked by its experimental and unconventinal streak. Jazz, math rock, modern classical, progressive rock or metal, and to an extent electronic music are all staples of this quadra's composition. Unconventional time signatures, a lack of harmony, many transitions, etc...All of these are staples of the lateral lexical's work. At its best, the music of lateral lexicals is thought-provoking and technical. At its worst, lifeless and "wanky."
The impressionistic thinker takes a great pleasure in the free-flowing world of sound. To them, it is a less constricting place and one where ideas are not truly locked by their codified form. By this nature, the impressionist takes great pleasure in music with emphasis on, well, impressions. Emotions, atmosphere, vibe, abstractness, etc...
When coupled with the Y-axis we can see the impressionistic thinker is set apart by a distinction of varying focus of the flat (vertical) or on the layered (lateral). The vertical impressionist finds his preferences lead him to music with a positive energy or a good beat. To them, the surface level impressions of the sound gives them a wonderful satisfaction. Rock, pop, EDM, etc... The vertical impressionist may find himself at a layered understanding of impressions but it is normally an assisted matter not one of natural instinct. At its best, this music is fun and enjoyable. At its worst, this music is shallow and too simplistic.
What exactly is meant by "layered?" Well it is to say that the lateral impressionist is a natural synesthete. To them, the sound goes deeper past surface level impressions and into a web of associated impressions. Impression X instinctively reminds them of impression Y which does not appear as obvious from X itself and so on until eventually the lateral impressionist may even forget the sound, or apparent impression, entirely. Avant-Garde, noise, shoegaze, ambient, etc... At its best, this music is magical and complex while at its worst this music may be seen as pretentious or unpalatable.
Representation of extreme laterality and extreme lexicality- https://www.youtube.com/watch?v=v44VxSnwG8k
Representation of extreme laterality and the middle of the x-axis- https://www.youtube.com/watch?v=BU_A5p04VXc
Representation of extreme laterality and extreme impressionism- https://www.youtube.com/watch?v=yGSKGVwj4Cc
Representation of the middle of the y-axis and extreme lexicality- https://www.youtube.com/watch?v=9P4GsF1zdzM
Representation of the middle of the y-axis and the middle of the x-axis- https://www.youtube.com/watch?v=s29RKnB7l7o
Representation of the middle of y-axis and extreme impressionism- https://www.youtube.com/watch?v=vofOdSilwGs
Representation of extreme verticality and extreme lexicality- ???
Representation of extreme verticality and the middle of the x-axis-https://www.youtube.com/watch?v=qrOeGCJdZe4
Representation of extreme verticality and extreme impressionism- https://www.youtube.com/watch?
v=5NV6Rdv1a3I
The lateral lexical's composition on the other hand is marked by its experimental and unconventinal streak. Jazz, math rock, modern classical, progressive rock or metal, and to an extent electronic music are all staples of this quadra's composition. Unconventional time signatures, a lack of harmony, many transitions, etc...All of these are staples of the lateral lexical's work. At its best, the music of lateral lexicals is thought-provoking and technical. At its worst, lifeless and "wanky."
The impressionistic thinker takes a great pleasure in the free-flowing world of sound. To them, it is a less constricting place and one where ideas are not truly locked by their codified form. By this nature, the impressionist takes great pleasure in music with emphasis on, well, impressions. Emotions, atmosphere, vibe, abstractness, etc...
When coupled with the Y-axis we can see the impressionistic thinker is set apart by a distinction of varying focus of the flat (vertical) or on the layered (lateral). The vertical impressionist finds his preferences lead him to music with a positive energy or a good beat. To them, the surface level impressions of the sound gives them a wonderful satisfaction. Rock, pop, EDM, etc... The vertical impressionist may find himself at a layered understanding of impressions but it is normally an assisted matter not one of natural instinct. At its best, this music is fun and enjoyable. At its worst, this music is shallow and too simplistic.
What exactly is meant by "layered?" Well it is to say that the lateral impressionist is a natural synesthete. To them, the sound goes deeper past surface level impressions and into a web of associated impressions. Impression X instinctively reminds them of impression Y which does not appear as obvious from X itself and so on until eventually the lateral impressionist may even forget the sound, or apparent impression, entirely. Avant-Garde, noise, shoegaze, ambient, etc... At its best, this music is magical and complex while at its worst this music may be seen as pretentious or unpalatable.
Representation of extreme laterality and extreme lexicality- https://www.youtube.com/watch?v=v44VxSnwG8k
Representation of extreme laterality and the middle of the x-axis- https://www.youtube.com/watch?v=BU_A5p04VXc
Representation of extreme laterality and extreme impressionism- https://www.youtube.com/watch?v=yGSKGVwj4Cc
Representation of the middle of the y-axis and extreme lexicality- https://www.youtube.com/watch?v=9P4GsF1zdzM
Representation of the middle of the y-axis and the middle of the x-axis- https://www.youtube.com/watch?v=s29RKnB7l7o
Representation of the middle of y-axis and extreme impressionism- https://www.youtube.com/watch?v=vofOdSilwGs
Representation of extreme verticality and extreme lexicality- ???
Representation of extreme verticality and the middle of the x-axis-https://www.youtube.com/watch?v=qrOeGCJdZe4
Representation of extreme verticality and extreme impressionism- https://www.youtube.com/watch?
v=5NV6Rdv1a3I
NOTE:
Composition in of itself can largely* be thought of as the synthesis of all these elements however, the unique processes by which we all experience and interpret music (which, I should note, are not static) may be symbolic of a preference in cognition
It should also be noted that the nature of this article is one of symbolic correlation and as such it should not be treated as base theory
* Certain examples may emphasize certain representations of cognition
Composition in of itself can largely* be thought of as the synthesis of all these elements however, the unique processes by which we all experience and interpret music (which, I should note, are not static) may be symbolic of a preference in cognition
It should also be noted that the nature of this article is one of symbolic correlation and as such it should not be treated as base theory
* Certain examples may emphasize certain representations of cognition
Good work toro!
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