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What music are you listening to lately? - Page 536

post #8026 of 9042
What's with all the goofy post-war classical recently? alien.gif
post #8027 of 9042

post #8028 of 9042
Quote:
Originally Posted by tagutcow View Post

What's with all the goofy post-war classical recently? alien.gif

 

Dunno, but that's the first time I've seen anyone refer to Feldman's music as "goofy"!

 

np:

 

 

The Frogs - It's Only Right and Natural

post #8029 of 9042
post #8030 of 9042

"All the great composers were great orchestrators. Name me a great composer, besides Karlheinz Stockhausen, who is not a great orchestrator. " - Morton Feldman

post #8031 of 9042
That's a great quote! Both Stockhausen and Feldman are on my short list of favorite composers.
post #8032 of 9042

You really can't lose with Feldman quotes:

 

"My past experience was not to 'meddle' with the material, but use my concentration as a guide to what might transpire. I mentioned this to Stockhausen once when he had asked me what my secret was. 'I don't push the sounds around.' Stockhausen mulled this over, and asked: 'Not even a little bit?'"

 

...

 

"My teacher Stefan Wolpe was a Marxist and he felt my music was too esoteric at the time. And he had his studio on a proletarian street, on Fourteenth Street and Sixth Avenue. . . . He was on the second floor and we were looking out the window, and he said, 'What about the man on the street?' At that moment . . . Jackson Pollock was crossing the street."

post #8033 of 9042
I like Milton Babbitt's writing, for quite different reasons. Every essay of his begins with an absolute ringer of a sentence (and he was probably- truth be told- a little influential on my own writing style.)
Quote:
Inasmuch as the term concept at present is taken to designate "properties, relations and similar entities... expressed in language by a designator of nonsentiential form" and necessarily to involve "an analysis of the nature of the referent," the term itself can serve most appropriately as the point of entry for a discussion in which I shall be concerned chiefly with contemporary aspects of the question at issue.

I like to believe that a not insignificant consequence of the proper understanding of a proper theory of music is to assume that a composer who asserts something such as: "I don't compose by system, but by ear" thereby convicts himself of, at least, an argumentum ad populum by equating ignorance with freedom, that is, by equating ignorance of the constraints under which he creates with freedom from constraints.
Quote:
It is not mere fashionability, for that is by now largely a past fashionability, which suggests that the "normal" and "revolutionary" oscillatory historical paradigm is particularly suitable to situate chronologically and characterize idealogically the fragmented, pluralistic, disarrayed, thus revolutionary, condition of musical creation over the past seven or so decades. This is a period so long-and with no normalcy in sight- that one might be tempted to tamper with the paradigm and declare such an extended reign of coexistant, though almost discrete, revolutionary musics as, finally, the normal music. I do not mean for this lighthearted equivocation to be taken seriously except to lighten our heavyhearted awareness of our complexly delicate musical condition and to heighten our awareness that in music, at least, what further characterizes a revolutionary period is that it reexamines its past, and this by reexamining past and present examinations, "theories" of the past.
post #8034 of 9042

Ooof. For labyrinthine, I'll stick to Anthony Braxton haha

post #8035 of 9042
Quote:
Originally Posted by marvin100 View Post

Ooof. For labyrinthine, I'll stick to Anthony Braxton haha

…and Benjamin Boretz. Something about those 'B's.
post #8036 of 9042




post #8037 of 9042

Harry Connick Jr. "Occassion" and some Ray Charles from "Genius Loves Company."
 

post #8038 of 9042

 

Iannis Xenakis - Chamber Music

post #8039 of 9042
This is great.
post #8040 of 9042
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