Originally posted by ferneyhoughgeliebte
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Musical questions and answers thread
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Originally posted by teamsaint View PostThe internet throws up the following names as being poor performers at best.
Webern, Wagner,William Schumann, Milton Babbitt, Xenakis.
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Originally posted by teamsaint View PostMight be worth looking at medieval composers?[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Originally posted by Richard Barrett View PostPersonally I have no formal training on any instrument, or in composition for that matter.
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Originally posted by Serial_Apologist View PostI might be wrong, but I would think Pierre Schaeffer and Pierre Henry, the two originators of musique concrete, fall into the category of non-instrumentalist composers you are looking for.
And many improviser who are unable or unwilling to put notes on paper or sounds on tape, let alone read music, are nevertheless excellent musicians, in my view. I would count them as composers.
Improvisers who can't "compose" in the traditional way are the flip side, obviously, and I suspect they have an advantage there...
Originally posted by vinteuil View Post... well, Berlioz I suppose :
He was, however, quite a conductor....
Originally posted by ferneyhoughgeliebte View PostIf "poor performers" means "not up to professional concert standard", then the list gets rather longer. But those having no performing ability at all - I can't think of any.
Originally posted by Richard Barrett View PostPersonally I have no formal training on any instrument, or in composition for that matter.
I think a creative involvement with music is almost bound to have some kind of physical component, unless this is prevented by disability. Music is a physical phenomenon after all.
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Originally posted by kea View PostIt seems a reasonable corollary that (except where disability is concerned) any involvement with music that isn't physical (or avoids physicality) is also not truly creative.
I mentioned the lack of formal training mainly to emphasise that this isn't a prerequisite.
Composers of the mediaeval period were often known as singers first and foremost. We think of them as composers now because their written music is all we have. As throughout history, musical training would begin with performance and move from there to creation.
There are of course plenty of untrained people making electronic music at home with no background in performance at all, but in order for their work to be recognised it must once more involve skill and originality in working with sounds, which still comes under your definition of performance.
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What do the terms ruckpositiv and oberwerk mean in the following example of Bach organ music.
I was under the impression they referred to different types of organ or manual yet I haven't seen these instructions that often when looking at examples of Bach scores.
I have googled but seems clear as mud,to me anyhow.
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Originally posted by EdgeleyRob View PostWhat do the terms ruckpositiv and oberwerk mean in the following example of Bach organ music.
I was under the impression they referred to different types of organ or manual yet I haven't seen these instructions that often when looking at examples of Bach scores.
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Originally posted by Bryn View PostThey are the two main manuals on the organs of Bach's time. See https://en.wikipedia.org/wiki/Manual_%28music%29 for instance, for more detail.
I would expect too see these terms in many Bach organ works,this is the first time I've noticed them although admittedly I have only seen a few scores.
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The recent Proms performance of Colin Matthews' Berceuse for Dresden reminded me of something I've wondered about for a while and never really sought an answer for: spose I should google!
Can we tell anything about orchestral tuning from the pitches of old church bells?
Do they vary from place to place, like concert pitch in different countries?
I wonder too where the oldest set of UK bells used for change ringing is, and what they are tuned to?
As an aside, were the bells used in the Matthews piece originals or recast?
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Originally posted by Pulcinella View PostI wonder too where the oldest set of UK bells used for change ringing is, and what they are tuned to?
You can hear them here: http://www.whitechapelbellfoundry.co.uk/newsaa.htm
They seem to be tuned to G flat.
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Originally posted by subcontrabass View PostThey seem to be here: https://en.wikipedia.org/wiki/St_Law...hurch,_Ipswich
You can hear them here: http://www.whitechapelbellfoundry.co.uk/newsaa.htm
They seem to be tuned to G flat.
Would C20 G flat be C16 G (think I've got that the right way round, if we now have A=440), the leading (recitation) note for the responses? Must be some reason for the key choice.Last edited by Pulcinella; 16-12-16, 08:18.
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