From the open collection library at the Digital ConcervatoireiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
This essay accompanies an audio episode from iServalan and forms part of a wider approach to learning music through listening, movement, and attention.🎙️ The Double Bass: Naming the Structure, Standing in the Sound Before we talk about difficulty,before we talk about strength,before we talk about whether this instrument is “too big” — we meet it properly. Because the double bass is not something you wrestle into submission.It is something you learn to stand beside. And to do that, we need shared language. Not memorised.Not tested.Simply understood. So when I name something,you know where we are. The Body of the Double Bass Let’s begin at the top. At the very top is the scroll,often larger and more pronounced than on smaller string instruments.Below it sit the tuning machines — metal gears rather than wooden pegs —designed for the greater tension of thicker strings. These sit in the pegbox,which leads into the neckand then into the fingerboard. The fingerboard is long.Unfretted.There are no visual shortcuts. This is an instrument that asks for listening,orientation,and trust in the body. Where the fingerboard meets the body is the nut. This block of wood is at the top of the fingerboard and is cut to hold the strings in place, with slight indents that are smooth and no deeper than half the size of the string. Below the nut the bass opens out into its wide, resonant form. The front is the top plate,carved to move a great volume of air.The f-holes are larger here,because the sound they release is larger. The bridge stands beneath the strings,taller than on a cello,balanced — not glued —holding immense tension through equilibrium alone. The strings pass down to the tailpiece,anchored by the tailgut,and finally to the endpin,which connects the bass to the floorand to gravity itself. Inside, unseen but essential,are the bass bar and the soundpost,shaping, supporting, and focusing the sound. You don’t need to hold all of this in your head.You only need to recognise the terrain. That’s enough. The Bow The double bass bow may look different —French or German grip —but the principles are the same. There is a stick.There is bow hair, usually made of horse hair and occasionally synthetic hair for vegan bows.There is a point where the hand meets the bow called the frog, a weighted adjustable oblong shape,where the arm transfers weight. The opposite end is called the tip. The frog and the tip are often used in instructions so it is good to remember those. The bow is not about pressure.It is about gravity,released. Standing or Sitting With the Bass Unlike the cello,the double bass asks you to stand —or to sit high enough that standing logic still applies. The bass leans into you.You do not lean into it. The endpin should be adjusted so the instrument feels present, not looming.If you feel you are reaching upward constantly, something is wrong. Your feet are grounded.Your knees are free.Your spine is upright but not rigid. This is not an instrument for collapse. Taking Up Space: The Vertical Orb Just as with the cello,string playing requires space. But here, the space is vertical. Imagine an orb around you —taller now,stretching from the floor beneath your feetto the air above your head. Your feet belong to this orb.Your pelvis.Your spine.Your shoulders.Your elbows.Your hands.The arc of the bow. Nothing should feel pinned.Nothing should feel apologetic. The double bass does not reward shrinking.It rewards presence. If you make yourself small,the sound struggles. So you claim your space. Calmly.Quietly.Without force. You are allowed to stand here. What Comes Next Now — and only now —do we have what we need. Not repertoire.Not technique drills. But the tools. A named structure.A grounded stance.Space to move.Room to breathe. Now we can make a noise. Our noise.Our sound. And once that sound exists,the world will listen. Our other streaming sitesiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
This essay accompanies an audio episode from iServalan and forms part of a wider approach to learning music through listening, movement, and attention.Today, I'm Wondering, If Hip-Hop Understands Bach Better Than Rock Ever Did Counterpoint, Sampling, the Grid, and Music Built to Hold a Room Bach is often described as a composer of melodies. He wasn’t. He was an architect. His music is built from systems: interlocking lines, bass-led harmony, repetition under pressure. Voices operate independently but remain bound to a shared structure. Nothing is accidental. Everything is relational. Hip-hop understands this instinctively.Someone like Kendrick Lamar knows this too. His work isn’t built on endless novelty, but on carefully managed repetition, variation, and return. Themes recur. Motifs evolve. The architecture holds while meaning deepens. Bach worked the same way. He didn’t abandon material once it appeared — he tested it, turned it, placed it under pressure until it revealed something new.MF DOOM understood structure the way Bach did — masks, constraints, recurring motifs, and rules that sharpened invention rather than limiting it. At its core, hip-hop is architectural music. It respects the grid. It understands the loop not as limitation, but as foundation. Repetition is not laziness — it is hypnosis. Variation happens inside constraint, not outside it. This is Bach thinking. In Bach’s fugues and dance forms, tension comes from timing, placement, and expectation. In hip-hop, tension is created the same way — through flow, syncopation, drop-ins and drop-outs. The bass doesn’t decorate. It leads. Rhythm is not accompaniment; it is structure. Performance culture makes the connection clearer.Hip-hop was built for rooms. For bodies. For spaces where sound had to hold attention, command presence, and survive repetition. MCs understand pacing the way Baroque performers did — when to push, when to hold back, when to let silence work. Think of someone like Kendrick Lamar, Rakim, or MF DOOM: control, architecture, restraint. Virtuosity not as speed, but as placement. Bach would have recognised this immediately. Not the surface sound — the thinking.The discipline.The respect for form as power. Much of rock, by contrast, misunderstood rebellion as freedom from structure. The rejection of rules became the point. But without constraint, music often collapses into gesture without architecture. Loudness replaces tension. Expression floats free of form. Hip-hop never made that mistake. It understands that systems are not cages — they are engines. That creativity sharpens when pressure is applied. That repetition creates meaning through accumulation. Sampling functions like counterpoint. Independent voices coexist, comment, collide. Past and present speak simultaneously. Bach did this with chorales. Hip-hop does it with records. Which is why Bach survives remixing, looping, re-contextualising — while much of rock does not. Systems endure.Structures travel.Architecture outlives fashion. And Bach, quietly, has always been closer to the beat than people think. ©2025 Sarnia de la Mare | The Continuum ApproachiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
This essay accompanies an audio episode from iServalan and forms part of a wider approach to learning music through listening, movement, and attention.🎙️ The Cello: Naming the Body, Claiming the Space Before we play a single note,before we worry about whether we’re doing anything “right”,we need to meet the instrument properly. Not romantically.Practically. Because knowing the names of things matters —not so that you memorise them,but so that when I say them, you know where we are. Think of this as learning the map,not the route. The Body of the Cello Let’s start at the top. At the very top of the cello is the scroll.It’s decorative, yes, but it also tells you which way the instrument is facing.Below the scroll are the pegs, one for each string.They’re used for tuning — slowly, carefully — and they sit in the pegbox. From there, the instrument narrows into the neck, which leads into the fingerboard.The fingerboard is smooth and unfretted.There are no markings to tell you where notes “should” be —this is an instrument that trains listening, not guessing. At the end of the fingerboard is the nut,a small but crucial point where the strings begin their vibrating length. Now the cello opens out into its main body. The front is called the top plate or soundboard.Cut into it are the two f-holes — these are not decoration.They are how the instrument breathes. Running down the centre is the bridge.The bridge is not glued down — it stands under tension, held in place by balance alone.It transfers the vibration of the strings into the body of the cello. At the bottom, the strings pass over the tailpiece,anchored by the tailgut,and finally disappear into the endpin,which extends down to the floor and connects the cello to gravity. Inside the cello — unseen, but essential —are the bass bar and the soundpost,which support, distribute, and shape the sound. You don’t need to remember all of this today.You just need to know what I mean when I say the words. That’s enough. The Bow Now the bow. The long wooden part is the stick.The white hair is — quite literally — horsehair.At the bottom is the frog,where your hand rests,and at the very end is the screw,which adjusts the tension. The bow is not a separate tool.It is part of your body while you’re playing. Sitting With the Cello Now we sit. You sit towards the front of the chair, not the back.Feet flat on the floor.The cello leans gently against your chest — it does not cling, and you do not grip. The endpin should be long enough that the cello feels tall, not cramped.If you feel compressed, something needs adjusting. Your knees support the cello lightly.Your spine rises naturally.Your shoulders soften. This is not a small instrument.It does not ask you to shrink. Taking Up Space: The Orb This is where something important happens. String playing — especially cello — requires space.Not just physical space, but permission. Imagine an orb around you.Like a planet with its own gravity. Your feet are part of this orb.So is your pelvis.Your spine.Your shoulders.Your head. Your elbows move within this space.Your hands.Your bow arm.The arc of the bow itself. Nothing should feel trapped.Nothing should feel apologetic. The cello needs room to vibrate.You need room to move. If you make yourself small,the sound becomes small too. So you demand your orbit. Quietly.Calmly.Without aggression. You are allowed to be here. What Comes Next Now — and only now —do we have what we need. Not music yet.Not repertoire. But the tools. A named body.A balanced seat.Space to move.Breath. Now we can make a noise. Our noise.Our sound. And once that sound exists,the world will listen.©2025 Sarnia de la Maré | Continuum Method iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
https://iservalan.gumroad.com/l/concervatoire This essay accompanies an audio episode from iServalan and forms part of a wider approach to learning music through listening, movement, and attention.Today, I'm Wondering, What Does Punk Have to Do with Baroque? Let's think....Noise, Ornament, Rebellion, Control At first glance, punk and Baroque music appear to be sworn enemies. Baroque is ornate, structured, saturated with detail. Punk is stripped back, loud, suspicious of polish. One belongs to powdered wigs and cathedrals; the other to safety pins and squats. But listen more closely — not to the surface, but to the function — and something curious emerges. Both Baroque and punk were reactions to control.The Sex Pistols would probably never have admitted it, but their power came not from chaos, but from compression. Short forms. Limited materials. A tight palette. Much like Baroque composers working within strict harmonic and rhetorical frameworks, punk performances relied on intensity rather than sprawl. Songs were brief, gestures sharp, messages concentrated. Nothing wandered. In both cases, the danger was contained. That containment is what made it volatile.Baroque music did not emerge as polite background sound. It arrived during periods of religious, political, and social tension. It was accused of being excessive, indulgent, even morally corrupting. Critics worried it overwhelmed the senses. That it did too much. That it moved people too strongly. Punk was accused of exactly the same thing. Both styles used excess as defiance. Not because they lacked discipline, but because discipline had become a tool of power. Baroque composers understood the rules of counterpoint intimately — they stretched them until emotion leaked through the cracks. Punk musicians often knew the rules too; they simply refused to ask permission to use them. This is where the myth collapses. Punk was never anti-skill. It was anti-gatekeeping.Baroque was never indulgent for indulgence’s sake. It was rhetorical, gestural, urgent. Both privileged message over prettiness. Gesture over refinement. Impact over approval. Even the economics rhyme. Punk’s DIY ethos — self-released records, zines, borrowed spaces — mirrors the hustle of Baroque composers navigating patrons, churches, and courts. Different centuries. Same survival instinct. What scared people wasn’t the noise.It was the loss of control. Punk didn’t reject classical music.It rejected permission. And in that sense, it is far closer to Baroque than anyone likes to admit.iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
This article is part of the Digital Conservatoire seriesThe Instruments & the People Who Find Them The Double Bass: The Architecture of Sound | iServalan (Explore the full series → https://iservalan.gumroad.com/p/the-instruments-the-people-who-find-them) The double bass suits those who think structurally. Bass players often sense foundations instinctively and recognise instability early. They understand that strength lies in support rather than display, and that visibility is not a prerequisite for influence. Emotionally, bass personalities tend to be steady and regulating. They absorb excess energy and return equilibrium. There is frequently a dry, observational humour — clarity without drama — and a confidence that does not require reinforcement. The double bass encourages perspective. Its range and role require players to think beyond the immediate moment and consider the whole. This suits individuals who are comfortable with responsibility, patience, and long arcs of development. Physically, the bass responds to authority without force. Movement is economical and grounded, guided by gravity rather than effort. Space is occupied confidently, and sound emerges through weight and timing rather than speed. The instrument rewards those who work with physics rather than against it. Energetically, if the cello is voice, the double bass is earth.It supports everything, whether acknowledged or not. A final reflection:Bass players are often underestimated. They rarely underestimate themselves for they know the truth, that all music depends on them. Continue the series:→The Violin: The Art of Immediate Truth →The Viola: The Intelligence of Depth →The Cello: The Voice of Embodied Emotion → The Double Bass: The Architecture of Sound→The Piano: The Instrument of Thought Other Essays What does Bjork has in Common with Bach? iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
This article is part of the Digital Conservatoire seriesThe Instruments & the People Who Find Them The Piano: The Instrument of Thought(Explore the full series → https://iservalan.gumroad.com/p/the-instruments-the-people-who-find-them) The piano attracts those who think in layers. Pianists hold melody, harmony, and rhythm simultaneously, navigating detail within architecture. This requires a balance of analytical clarity and emotional sensitivity, and a tolerance for complexity that unfolds over time. The instrument encourages self-sufficiency. Pianists are often comfortable working alone, generating structure internally rather than relying on external cues. Discipline and repetition are not obstacles but tools, and refinement becomes a form of inquiry rather than correction. The piano cultivates patience of a particular kind: the willingness to return, again and again, to the same material and hear something new each time. For many pianists, mastery is not about speed or volume, but about depth of understanding. Physically, the piano responds to balance and containment. Independent coordination of limbs is essential, yet the body remains composed. True power arises from depth and release rather than force; sound blooms when effort is organised rather than increased. The hands move freely because the body is settled. Energetically, if the violin is spark and the cello is voice, the piano is mind.It thinks in sound. A final reflection:Many pianists begin young. The deeper journey begins when the instrument becomes a place of thought and refuge, rather than measurement. Continue the series: iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
Today's Burning Question, What would Bach have thought of Electronic Music?An essay for the Digital Conservatoire Continuum Approach When we imagine Bach, we often imagine an older orchestral and possibly even limited canvas.After all, he didn't have AI, Logic Pro, advanced DAW, in a snazy studio. Quills.Harpsichords.Pipe organs.A world of wood, strings, and air. But Bach himself was not interested in limitation.He was interested in possibility. He worked obsessively with whatever tools were available to him — tuning systems, keyboard mechanisms, the physics of sound in large spaces.The organ, after all, was the most technologically complex instrument of its time. In many ways, it was an early machine. Bach was fascinated by systems that could generate complexity from simple rules.Give him a theme, and he would stretch it, invert it, mirror it, slow it down, speed it up — testing how far it could go before it broke. This is very close to how electronic music works. A loop.A sequence.A modulation.Small instructions, repeated and transformed, creating something vast. It’s easy to imagine Bach being less shocked by electronics than we might assume.He might not have been impressed by novelty alone — but he would have listened carefully. What can this system do?How does it behave?Where are its limits? He would likely have been drawn to synthesis not as sound effect, but as structure.Waveforms instead of strings.Filters instead of stops.Counterpoint expressed through layers of frequency rather than melody alone. And perhaps most intriguingly, Bach understood that music doesn’t need to sound emotional to be deeply moving. Order can move us.Balance can move us.Pattern can move us. Electronic music, at its best, does exactly this.It creates meaning through repetition, variation, and architecture — not sentiment. Bach might have seen electronics not as a threat to music, but as an extension of its grammar. Another keyboard.Another system.Another way to explore how sound thinks. And if he had lived now, with access to everything from modular synthesis to digital notation, one suspects he would have done what he always did. He would have gone very, very deep.iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
iServalan explores what Björk and Bach share: musical architecture, voice, structure, and deep listening, for the Digital Conservatoire. Today's burning question: 'What does Björk have in common with Bach?' Let's find out. When people hear the names Björk and Bach together, it sounds almost like a trick question.One belongs to the Baroque canon, powdered wigs and cathedrals. The other to voice, technology, and sound, treated as a living system but when you listen carefully — not to style, not to genre — something very interesting happens. Sometimes forcing a comparison reveals some interesting observations. So I had a listen, then another, and of course, another. But admittedly, I have been playing the Bach Cello suites for as long as I can remember, and I am also a massive Björk fan. You see, they are both architects. Bach didn’t really write songs in the way we think of songs today.He wrote systems. Counterpoint, fugue, repetition — music that builds itself layer by layer, like a living structure. You can remove these layers and see how interesting they are in their own right, but when they are overlapped, there exists an explosion of power and a formiddable and direct communication. Björk does something remarkably similar. Her music often begins with a small cell — a rhythm, a breath, a vocal gesture — and then it grows.Not towards a chorus, but outwards, into a space.You’re not carried along a melody so much as placed inside a sound world. Where will she go next? In both cases, the music feels less like performance and more like environment. Another thing they share is an understanding of the human voice. For Bach, even instrumental music often breathes as though it were sung. Sometimes listening to Bach, I swear I hear a choir, even when I know there is not one. Lines rise and fall as if they have lungs.There’s an implied body inside the sound. Björk makes this explicit.Her voice isn’t just carrying words — it becomes texture, rhythm, landscape.It cracks, stretches, whispers, pulses.The body is never hidden. And perhaps the most important thing they have in common is this: Neither of them writes music as a mere product to be trifled with. Bach was not chasing novelty.He was refining a language — deepening it, clarifying it, returning to it again and again. Björk does the same.Across decades, her work feels like one long conversation with sound, technology, nature, and the self. Their music doesn’t ask to be consumed quickly.It asks you to enter. To lose yourself. Give in to the power of musical persuasion. And that’s why, centuries apart, I am here on my laptop wishing they had met and released a song together. This is music that trusts the listener. That gives the listener the faith of a composer, that they will understand.Music that assumes you are capable of listening deeply. And perhaps that is the most radical thing of all.#Music and Culture #Deep Listening ©2025 Sarnia de la Maré FRSA iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
Do you love the cello? Join the Ddogital Conservatoire and I will teach you.https://iservalan.gumroad.com/l/conservatoire?iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
https://www.iservalan.comiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
www.iservalan.gumroad.comiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
Join TodayiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
www.iservalan.gumroad.comiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
www.iservalan.comiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
It's so good to be back! www.iservalan.com fir more lessons and cool tools for 😎 cool musiciansiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
iServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré
Enjoy the wordsiServalan™Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste.🎧 Podcast & essays:https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA:https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile:https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/#iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres#PerformanceCulture #SarniaDeLaMaré