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1 Semi-conscious belief-systems whose 'balance of probabilities' create a common world-view for those who hold them. Traditionally these have been objectified as archetypal personalities in the Greek, Indian and Christian myths; but with the decline in transcendental belief that has accompanied the rise of science, the phenomenology of post-Christian myths is all the more powerful for being an ever-changing subjective lifestyle construct sustained by media projection of fashionable archetypes.
2 A phrase coined, as far as I know, by the fashion historian Ted Polhemus to describe the elective affinities of post-modernism.
3 in Music & Mysticism, Vol 14.1 of Contemporary Music Review, Harwood Academic Press 1996. Text
4 I use this portmanteau elision of composer and performer in order to place the creative capacities of all musicians on an equal footing.
5 Perhaps this idea of a musical value arising from virtuosity can be best explored by borrowing the term virtu from the antiques trade - where objets virtu are decorative articles which don't fit into any other category yet have an attractive (ie collectable) quality. It often covers ethnic religious items such totems and masks, and is useful because it makes clear that virtu has a moral or intentional element which contributes in some indefinable way to the integrity of the object, and hence to its appeal.
6 Soetsu Yanagi The Unknown Craftsman. (1953) Kodansha Int, UK. 1972.
7 Published in Noisegate #4 (1997).
8 I often think the process of an audience and a comperformer achieving this relatively rare condition of intunity is best appreciated by relating it to stand-up comedy, where this intunity is an essential first step ... sine qua non.