{"id":5861,"date":"2020-03-20T03:15:21","date_gmt":"2020-03-20T03:15:21","guid":{"rendered":"http:\/\/michaelwinn.org\/?p=5861"},"modified":"2022-08-06T01:17:53","modified_gmt":"2022-08-06T01:17:53","slug":"bear-fields","status":"publish","type":"post","link":"https:\/\/michaelwinn.org\/tu-maltido-amor\/2020\/03\/20\/bear-fields\/","title":{"rendered":"\u0393\u03c5\u03bc\u03bd\u03ac \u03c0\u03b5\u03b4\u03af\u03b1 (Bear Fields)"},"content":{"rendered":"\r\n<figure>\r\n<div class=\"sc-type-small sc-text-body\">\r\n<div>\r\n<p>With VSL samples, I immitate what musicians do to produce a score. But when we listen again, our listening is different. As a score, there are places where instrumentalists, solo-duo-trio-septets can make ad hoc excursions. The harp suggests such an opportunity about midway (mm440), when the piano becomes dominant, a percussion, piano and english horn &#8220;divertimento&#8221; could be improvised. After a clear break, the piano begins solo, stalked by bassoon, developing a manage with strings&#8230;<\/p>\r\n<\/div>\r\n<iframe loading=\"lazy\" width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/1307115505&#038;color=%23ff5500&#038;auto_play=false&#038;hide_related=false&#038;show_comments=true&#038;show_user=true&#038;show_reposts=false&#038;show_teaser=true&#038;visual=true\"><\/iframe><div style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\"><a href=\"https:\/\/soundcloud.com\/michaelwinn\" title=\"Winn Myrow\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener\">Winn Myrow<\/a> \u00b7 <a href=\"https:\/\/soundcloud.com\/michaelwinn\/gymnopedia-5-v6d\" title=\"Gymnopedia 5 V6d\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener\">Gymnopedia 5 V6d<\/a><\/div>\r\n<\/div>\r\n<div class=\"soundTags\">\r\n<div class=\"sc-tag-group\"><a class=\"sc-tag sc-tag-medium\" href=\"https:\/\/soundcloud.com\/tags\/performed%20by%20robots\"><span class=\"sc-truncate sc-tagContent\">Performed by Robots<\/span><\/a><a class=\"sc-tag sc-tag-medium\" href=\"https:\/\/soundcloud.com\/tags\/assisted%20by%20ai\"><span class=\"sc-truncate sc-tagContent\">Assisted by AI<\/span><\/a><\/div>\r\n<\/div>\r\n<div class=\"truncatedAudioInfo__metadata sc-pl-2x\">\r\n<div class=\"listenInfo\">\r\n<div>\u00a0<\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"truncatedAudioInfo__license\">\u00a0<\/div>\r\n<\/figure>\r\n","protected":false},"excerpt":{"rendered":"<p>With VSL samples, I immitate what musicians do to produce a score. But when we listen again, our listening is different. As a score, there are places where instrumentalists, solo-duo-trio-septets can make ad hoc excursions. The harp suggests such an opportunity about midway (mm440), when the piano becomes dominant, a percussion, piano and english horn &hellip; <a href=\"https:\/\/michaelwinn.org\/tu-maltido-amor\/2020\/03\/20\/bear-fields\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">\u0393\u03c5\u03bc\u03bd\u03ac \u03c0\u03b5\u03b4\u03af\u03b1 (Bear Fields)<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5861","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/posts\/5861","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/comments?post=5861"}],"version-history":[{"count":3,"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/posts\/5861\/revisions"}],"predecessor-version":[{"id":5865,"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/posts\/5861\/revisions\/5865"}],"wp:attachment":[{"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/media?parent=5861"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/categories?post=5861"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/michaelwinn.org\/tu-maltido-amor\/wp-json\/wp\/v2\/tags?post=5861"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}