MUSICAL QUADRUPLICITIES

1. Trad, Folk, Jazz, Pop - broadly, all these kinds of music reflect a particle basis in either the will (Trad, Jazz) or the spirit (Folk, Pop), and are accordingly of a female persuasion such that suggests a metachemical and/or chemical bias in which rhythm and/or harmony will be hegemonic, depending on the genre.

2. By contrast, Classical, Romantic, Avant-garde, and Electronic reflect a wavicle basis in either the ego (Classical, Avant-garde) or the soul (Romantic, Electronic), and are accordingly of a male persuasion such that suggests a physical and/or metaphysical bias in which melody and/or pitch will be hegemonic, depending on the genre.

3. Broadly, the division of what could be called old music lies between Trad and Folk on the one hand, that of naturalistic (acoustic) objectivity, and ... Classical and Romantic on the other hand, that of naturalistic (acoustic) subjectivity.

4. Similarly, the division between what could be called new music lies between Jazz and Pop on the one hand, that of artificial (electric) objectivity, and ... Avant-garde and Electronic on the other hand, that of artificial (electric) subjectivity.

5. Whatever the case, whether 'old' or 'new', traditional or contemporary, this division in music between a particle-based objectivity and a wavicle-centred subjectivity is symptomatic of a gender dichotomy in which will and spirit stand objectively apart from ego and soul pretty much, in political terms, as the Left, whether extreme (noumenal) or moderate (phenomenal) from the Right, whether moderate (phenomenal) or extreme (noumenal).

6. Thus, in the old music of the naturalistic (acoustic) past, Trad and Folk stand to Classical and Romantic as fire and water to vegetation and air, Extreme Left and Moderate Left to Moderate Right and Extreme Right, so that one can distinguish the noumenal objectivity of Trad and the phenomenal objectivity of Folk from the phenomenal subjectivity of Classical and the noumenal subjectivity of Romantic, musical will (rhythm) and spirit (harmony) from musical ego (melody) and soul (pitch).

7. Likewise, in the new music of the artificial (electric) present, Jazz and Pop stand to Avant-garde and Electronic as fire and water to vegetation and air, Extreme Left and Moderate Left to Moderate Right and Extreme Right, so that one can distinguish the noumenal objectivity of Jazz (including the Blues and/or Funk) and the phenomenal objectivity of Pop (including Rock and/or Punk) from the phenomenal subjectivity of Avant-garde (including Serial and/or Aleotory music) and the noumenal subjectivity of Electronic (including Computer and/or Synthesizer music), musical will (rhythm) and spirit (harmony) from musical ego (melody) and soul (pitch).

8. Thus, for me, Trad, Jazz, Romantic, and Electronic are all upper-class (noumenal) kinds of music, whereas Folk, Pop, Classical, and Avant-garde are all lower-class (phenomenal) kinds of music, with due regard, in each quadruplicity, to the objective/subjective distinction which divides the female approach to music from the male - the former primary and the latter secondary.

9. For fire and water, will and spirit, are of course primary compared to or, rather, contrasted with the secondary natures of vegetation and air, ego and soul.