Originally posted by Oddball
View Post
Richard Barrett CONSTRUCTION
Collapse
X
-
hackneyvi
-
Originally posted by Oddball View PostYou never know Simon - you might have a Damascus moment.....Last edited by ahinton; 23-11-11, 22:47.
Comment
-
-
Originally posted by 3rd Viennese School View PostAt 0013. Higher and Higher.With bubbles.
Comment
-
-
Panjandrum
Originally posted by ahinton View PostThose familiar with the location of that town - surely including Simon himself - would surely be forgiven for thinking that such a moment might be a pretty dangerous thing to have as of right now! Assad thought, perhaps, but nevertheless...
Comment
-
3rd Viennese School
Found the bubbles sound effect on my keyboard on Monday.
12 note pop tunes with Bubbles to be performed on Hear and now soon!
3VS
Comment
-
i still have not listened, mostly because i have a problem with how long this piece appears to require to hear it .... i mean the Art of Fugue i somewhere arounf 1hr 50m, Beethovens 9 is say 68min .... is this piece and its ambition of a comparable scale or is it just long?According to the best estimates of astronomers there are at least one hundred billion galaxies in the observable universe.
Comment
-
-
Originally posted by aka Calum Da Jazbo View Posti still have not listened, mostly because i have a problem with how long this piece appears to require to hear it .... i mean the Art of Fugue i somewhere arounf 1hr 50m, Beethovens 9 is say 68min .... is this piece and its ambition of a comparable scale or is it just long?
Comment
-
-
Originally posted by aka Calum Da Jazbo View Post. i mean the Art of Fugue is somewhere around 1hr 50m, Beethovens 9 is say 68min .... is this piece and its ambition of a comparable scale or is it just long?
In this case, focussing in microscopically on each quantum of music, there is a great deal of novelty and unusual sound experiences. So to maintain a high level of concentration throughout is a big ask.
Bryn however may be more familiar with Barrett's work, in the same way others are familiar with the classics.
Comment
-
-
Originally posted by Oddball View PostFor me, it is different from the Classics, where you know generally what to expect, and so an hour or two listening is not such a big deal.
In this case, focussing in microscopically on each quantum of music, there is a great deal of novelty and unusual sound experiences. So to maintain a high level of concentration throughout is a big ask.
Bryn however may be more familiar with Barrett's work, in the same way others are familiar with the classics.
Knowing "what to expect" is one way of listening to music
others are available ..........
if one listens for "familiarity" then new things (regardless of when they were composed) will always be a disappointment
why does spending two hours listening to something you don't know regarded (not necessarily in Odd's comment but more generally !) as a potential "waste of time" when sitting down to listen to The Goldberg Variations for the umpteenth time "time well spent" ??
"the Classics" are they fixed ? do we all agree about them ? Is "Kind of Blue" one and Metastasis not ? etc etc
Comment
-
-
Originally posted by MrGongGong View PostSome interesting thing in this comment
Knowing "what to expect" is one way of listening to music
others are available ..........
if one listens for "familiarity" then new things (regardless of when they were composed) will always be a disappointment
why does spending two hours listening to something you don't know regarded (not necessarily in Odd's comment but more generally !) as a potential "waste of time" when sitting down to listen to The Goldberg Variations for the umpteenth time "time well spent" ??
"the Classics" are they fixed ? do we all agree about them ? Is "Kind of Blue" one and Metastasis not ? etc etc
Comment
-
-
One theory of listening that i've been thinking about recently is that even though we have the access to a much wider range of musics than at any time in human history we only seem able to regard music as having a single function. If ALL music is for is to be "relaxing" and "familiar" then we obviously are limiting our range of what we listen to. Given that when I try to talk to people about this they often glaze over and don't understand HOW music could be "about" anything other than "entertainment" i'm trying to think of examples in life where music has other functions. When church attendance was much more common I do think people experienced the IDEA that music could have multiple functions whereas now the mere idea is planet zarg !
We often get the "criticism" of some music that "It's not Beethoven" or "It's hardly Mendelssohn" which seems (IMV) to reveal a belief that ALL music should have the same reference points. Now, Beethoven and (well the octet at least !) Mendelssohn are fine as they are , why should one try to make something like them in the first place ?
When I was a teenager I remember going to see Status Quo , the fact that all (apart from the rubbish one !) the songs had three chords wasn't really a problem, Harmonic Development marks out of 10 = 0 quality of jumping up and down in a field with 1,000's of smelly youths = 10 , when I went to see Rheingold Motivic Development out of 10 = 9.5, jumping up and down appeal = 1
Comment
-
-
my point was not the amount of one's life spent listening to a piece, nor the familiarity; rather and perhaps unfairly to equate length with ambition ... is the piece doing anything on the scale of the Art of Fugue or the Ninth, if not why such monumental length? what is it for? if it is a mere quotidian duree why listen? is it a compendium such as the Art or a Monument such as the Ninth?According to the best estimates of astronomers there are at least one hundred billion galaxies in the observable universe.
Comment
-
Comment