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A personal journal style podcast with multi-media creator iServalan. I also feature writing, poetry, and songs by Tale Teller Club, Flex, Vapor Punk and friends. We launch the Elderescence series...
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A personal journal style podcast with multi-media creator iServalan.
I also feature writing, poetry, and songs by Tale Teller Club, Flex, Vapor Punk and friends.
We launch the Elderescence series in February 2026 embracing and celebrating the age of maturity with interviews and chats with people who changed their lives, or created a new world dimention for themselves.
mostra menos
I also feature writing, poetry, and songs by Tale Teller Club, Flex, Vapor Punk and friends.
We launch the Elderescence series in February 2026 embracing and celebrating the age of maturity with interviews and chats with people who changed their lives, or created a new world dimention for themselves.
Episodios & Posts
Episodios
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Transcrito
16 DIC. 2025 · https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
16 DIC. 2025 · This article is part of the Digital Conservatoire series
The 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:
→https://draft.blogger.com/
→https://draft.blogger.com/
→https://draft.blogger.com/
→ https://draft.blogger.com/
→https://draft.blogger.com/
Other Essays
https://draft.blogger.com/?
https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
16 DIC. 2025 · This article is part of the Digital Conservatoire series
The 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:
https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
16 DIC. 2025 · 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. https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
16 DIC. 2025 · 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 https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
15 DIC. 2025 · Do you love the cello? Join the Ddogital Conservatoire and I will teach you.
https://iservalan.gumroad.com/l/conservatoire https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
15 DIC. 2025 · https://Digital Conservatoire https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
Transcrito
15 DIC. 2025 · www.iservalan.gumroad.com https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
Transcrito
14 DIC. 2025 · https://iservalan.gumroad.com/l/conservatoire https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
Transcrito
14 DIC. 2025 · www.iservalan.gumroad.com https://www.sarniadelamare.com/
https://www.amazon.co.uk/stores/author/B0CWGX2DJ6
https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/
#Sarnia de la Maré FRSA #iservalan #poetrypodcast #spokenword
A personal journal style podcast with multi-media creator iServalan. I also feature writing, poetry, and songs by Tale Teller Club, Flex, Vapor Punk and friends. We launch the Elderescence series...
mostra más
A personal journal style podcast with multi-media creator iServalan.
I also feature writing, poetry, and songs by Tale Teller Club, Flex, Vapor Punk and friends.
We launch the Elderescence series in February 2026 embracing and celebrating the age of maturity with interviews and chats with people who changed their lives, or created a new world dimention for themselves.
mostra menos
I also feature writing, poetry, and songs by Tale Teller Club, Flex, Vapor Punk and friends.
We launch the Elderescence series in February 2026 embracing and celebrating the age of maturity with interviews and chats with people who changed their lives, or created a new world dimention for themselves.
Información
| Autor | Sarnia de la Maré FRSA Poetry |
| Organización | Sarnia de la Maré FRSA |
| Categorías | Arte , Música , Libros |
| Página web | www.iservalan.gumroad.com |
| sarniadelamare@gmail.com |
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