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The AP-style story format now prevalent at Wired.com makes it less bloggy than readers think it is. This establishes a distance between readers and reporters and restores a traditional tone of objectivity to its newswriting. As it is, Wired’s commenters rarely emerge from a state of inchoate, slavering rage, so there’s no incentive for its writers to enter the peanut gallery. And the blog river itself is polished to such a high standard that casual, chatty posts don’t really belong. Without a local venue where writers and readers can engage readers in non-confrontational discussion, it all ends up as bitching on Twitter.The point here is that the fight is not like the blogwars of old, despite the fact that both sides are publishing on blogs. We haven’t seen a lot of back-and-forth on the blogs, and the blog entries that we have seen have been clearly worked at considerable length. Instead, the debate has been raging on Twitter, where it’s much harder for an outsider coming to the subject afresh to follow what’s going on and who’s saying what.
Almost everyone thinks "Greensleeves" is a sad song—but why? Apart from the melancholy lyrics, it's because the melody prominently features a musical construct called the minor third, which musicians have used to express sadness since at least the 17th century. The minor third's emotional sway is closely related to the popular idea that, at least for Western music, songs written in a major key (like "Happy Birthday") are generally upbeat, while those in a minor key (think of The Beatles' "Eleanor Rigby") tend towards the doleful.While there might be a loose correlation—reinforced by our particular musical tradition—between minor scales and "sadness," it's a mistake to think that the moods evoked by music can be confidently reduced to tonality in and of itself. Indeed, those recalcitrant minor key songs that defy generalization about the link between tonality and mood may tell us something more important about music than the ones that conform.