Today we present Luna with the Wicks Looper.
Black cat with a small synthesizer that contains a black cat…
Luna is making a rare Monday appearance for World Cat Day. Of course, every day feels like “cat day” here, but we’re happy to participate with this elegant photo.
Another submitted by Ron de Rooij on our Facebook page, featuring his white cat Bimbo and a Yamaha CS 30.
“his one says nuff…..stay of the cs30 patch , its good asit is;-]]]”
More pictures from Ron De Rooij via facebook.
While the other cats in the household run the synths, Timber mans the meters.
This is our 200th Wordless Wednesday post!
(As always, descriptive information is provided in the comments.)
One of several submitted by Ron de Rooij on Facebook.
“bimbo . jemoet wel veel omje kitty geven astie de plaats van je tb,…. inpikt in de studio. tb acid monstertje”
attention / tickle me or;…….. i wil destroy ya setup;-[[
The theme for this week’s combined Weekend Cat Blogging and Photo Hunt is Patch. We at CatSynth have an alternative take on the theme, as Luna poses with a Korg MS-20 patch on the iPad:
As a bonus, the app’s simulated interface features patch cords. They’re a little challenging to manipulate on the screen, but the make for nice visuals.
Appropriately for an iPad-centric post, Weekend Cat Blogging #320 is hosted by Meowza at his blog iMeowza.
Photo Hunt 275 is hosted by tnchick. This week’s theme is Patch.
The Carnival of the Cats will be hosted this Sunday by Nikita and Elvira at Meowsings of an Opinionated Pussycat.
And the Friday Ark is at the modulator.
Sad news about a feline composer, from the New York Times:
Ketzel, who won a prize for piano composition in 1997 and went on to be featured in a book, “The World of Women in Classical Music,” died Wednesday in Manhattan. She was 19 and lived on the Upper West Side.
Ketzel was a black-and-white cat.
In the article you can see a picture of Ketzel (whose name means “cat” in Yiddish), and a recording of her one composition, Piece for Piano, Four Paws. It is descending pitch-wise, but has a good sense of timing with a “beginning, middle and end.” The work was transcribed by one of Ketzel’s humans, Morris Moshe Cotel, who retired as chairman of the composition department at the Peabody Conservatory in 2000 and became a rabbi. It would be interesting to see, and even perform the score of Ketzel’s piece at some point.
Her piece one an award in the Paris New Music Review’s One-Minute Competition, and led to exchange between Professor Cotel and Allan Forte, with this observation:
long the way, Professor Cotel said he realized that Ketzel’s “exquisite atonal miniature” used only 10 pitches of the chromatic scale. “The two missing pitches are G natural and B-flat” — the opening notes of Domenico Scarlatti’s famous Fugue in G minor, known as the “Cat’s Fugue.”
Our thoughts go out to Ketzel’s surving human, Aliya Cheskis-Cotel.
