On that sleeve for his 1985 recording of the Goldberg Variations , Scott Ross is seen standing in the grounds of Château d'Assas in Languedoc. It was here that many of his great recordings were made. Then, as today, the château dwelt in the twilight zone between grandeur and dereliction, and thirty years ago the recording sessions were regularly interrupted by the sound of rats scurrying across the floor. Scott Ross was born in Pittsburgh in 1951, and moved to France with his mother following the death of his father in 1964. He studied at the conservatoires in Nice and Paris, and first came to Château d'Assas in 1969 to give music lessons to the grandson of its owner Mme. Simone Demangel . When an early music academy was established at the château, the harpsichordist gave masterclasses and became a frequent visitor. At first he stayed in a room in one of the towers, but from 1983 he rented a small house across the road from the château. The photos below were taken by me on a ...
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http://www.kettlesyard.co.uk/publications/catalogues/index.html
It would be just dandy if string theory merely predicted those extra dimensions. The problem is that string theory depends on those extra dimensions (a total of 11 at last count) for its very existence. Absent those extra dimensions, string theory collapses as a viable theory of anything, much less everything.
ACD
Hi, I enjoy your blog. Your post on string theory made me wonder whether you've bumped into the connection between higher dimensional geometry and music, but there are some interesting connections.
http://cosmiclog.msnbc.msn.com/archive/2006/07/07/950.aspx
http://www.time.com/time/magazine/article/0,9171,1582330,00.html
Am actually writing about one of the "On an Overgrown Path" pieces, which makes a very interesting use of scales ...
Dmitri Tymoczko
Assistant Professor of Music
Princeton
http://music.princeton.edu/~dmitri