The fact that it (the new music) does not aspire to acceptance, and is unwilling to join the universe of consumer goods does not imply that it relinquishes a relationship with an audience. But that relationship is not infinitely adaptable. It is instead the permanent, albeit Sisyphean effort to open people's ears, to penetrate the anthropological sound barrier.

Adorno, Music and New Music, Quasi una Fantasia, p. 265

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Ah the Sisyphean effort. Is everyone engaged in 'this music' automatically doin the Sisyphus? Are some doing it more than others? Can 'it' (the effort of opening peoples ears and penetrating the anthropological sound barrier) be 'turned up or down?' Today, I shall really really penetrate some barriers--tomorrow, not so much. Would you believe an artist if they told you that?

Is there an actual 'barrier' made of something? Is there a 'matter' to it? This barrier, is it an etheric entity? Yes yes, it's an anthropological sound barrier, but what exactly does that mean?

+ + +

If I had to pick one Bill Dixon recording, it would be Son of Sisyphus--mostly for sentimental reasons--the time and place when it (the recording) found me. It's not hard to understand why Dixon used the image Sisyphus--his labors at Bennington College would amply qualify Dixon Sisyphus status, regardless of what ever was or wasn't happening in the rest of his life.

The relationship with Bill Dixon's music isn't infinitely adaptable. Is that why the tantrum? In his music there aren't (in Adorno's words) tried and tested cliches for tried and tested emotions. In John Crouse's words you want Henry James.

To use another metaphor, the listener has to go to Dixon's music. If the 'trek' is made the rewards are endless--as it is with all enduring artists. Room service it aint.

While the new music doesn't (and shouldn't) "aspire to acceptance," and "is unwilling to join the universe of consumer goods," can't the acceptors and those big planets in the universe of commercial goods realize that the new music is the fountain head?

In that instance, it was a big x in the sorrow column that Dixon was not involved in the 2006 Font festival. Good to see Nate Wooley involved, but sad not to see Dixon. He was there in 2004 and he was there in 2005, but no room at the inn in '06.

Anyhow, here's a quick refresher on how this whole fountain thing works:

1. Water comes out the top of the fountainhead--the pennies fall to the murky bottom.

2. Without the fountain head bringing forth fresh water to "trickle down" (so to speak) to that murky bottom, the entire feature is no longer interesting.

3. When the water isn't coming out of the fountain head, the whole water feature is considered 'off' or 'broken.'

4. In a functional system, some of those pennies thrown by hopeful seniors and children alike are allocated to maintain fountain head.

Without a fountain head, you have a still, stagnant pool.

Hands up, who likes still stagnant pools?

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