THE GIRL WANTS TO FIX HIM SOME BROTH
Would you like some broth?
Some nice soup.
Some hot broth.
With small dogs in it.
Do you
You like broth? Dog broth.
Hot broth. You like dog broth hot? How do you like it? The four styles of it:
the breathe broth breath, and the ever-popular hygienic European version,
...
Stretching music theory (salvaged from train wreck)
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- KVRAF
- 1585 posts since 13 Nov, 2005 from St. Paul
Hey hey, count me, I'm an American! I'm theoretically from Minnesota and i have the accent to prove it. I'm Super American. I even worked at SuperAmerica for a while, overnight shift. This is a sample SuperAmerica in St. Paul, but not the one I worked at:
I worked at the one about a mile from where runagate hangs out, or at least where he was hanging out a couple of years ago. No kidding.
I'll have more theory thoughts tomorrow, I'm just wiped out tonight and a bit sad about Rick Wright's death. An interesting case in point of someone who was supremely gifted at finding a mix of something completely new (who the hell played big fat ambient organ chords through a tape echo before him? nobody) that was also immediately accessible.
I worked at the one about a mile from where runagate hangs out, or at least where he was hanging out a couple of years ago. No kidding.
I'll have more theory thoughts tomorrow, I'm just wiped out tonight and a bit sad about Rick Wright's death. An interesting case in point of someone who was supremely gifted at finding a mix of something completely new (who the hell played big fat ambient organ chords through a tape echo before him? nobody) that was also immediately accessible.
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- KVRist
- Topic Starter
- 401 posts since 31 May, 2004 from Standing right behind you. Booga! Booga!
Whaas4w2th wrote:[mod edit: I've removed these posts from a trollish thread. They shouldn't be lost because they were in a nonsense thread, so here they are. Sorry for the lame subject line, I couldn't think of anything better. Feel free to suggest something better, or change it yourself it you're s4w2th. Let the discussion continue.]
An understanding of Psycho-Accoustics is very helpful as well as general knowledge of placement for instruments and scales. If your using pads and sweeps your already using chords. I might even go so far as to mention microtonics as a big plus. So make your rules test them then go out and break them. Learning traditional terms and methods really is just about learning an old language for the very same concepts your currently working with. Classical arrangement is the same thing as what your doing now except that the terms are different.
for a minute there I thought someone had hacked my password and started a thread...possibly something more embarrassing than what've done already... 
Relief.Stay in the glow.
Feed the glow.
Feed the glow.
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- KVRAF
- 1585 posts since 13 Nov, 2005 from St. Paul
Here's something worth considering, in terms of the conflict between strands of modern music (apropos of the discussion of minimalism and other 20th century styles).
Link to Beethoven was wrong by Alex Ross, complete with audio samples.
This is from Alex Ross's outstanding book "The Rest is Noise," which might be the most enlightening historical treatment of concert music in the 20th century out there. The most engaging thing about Ross's writing is that unlike most classical theorists who write about the 20th century, Ross actually understands rock and jazz music. The chronological development in the book is the movement from Mahler, who was very popular and well known, through Aaron Copland who was very popular and well known only after he deliberately popularized his music, into music that largely lost the concert audience, and then into music like minimalism that rejected the idea of symphony concerts altogether and therefore connected with a completely different audience. I am grotesquely oversimplifying what Ross wrote about (and lest you take me wrong, his own affection for "difficult" music is very clear), I'd advise anyone interested in serious art music of the 20th century to pick the book up. Even if you already know your Webern from your Schoenberg, it's a fascinating read because his take is very fresh.
Link to Beethoven was wrong by Alex Ross, complete with audio samples.
This is from Alex Ross's outstanding book "The Rest is Noise," which might be the most enlightening historical treatment of concert music in the 20th century out there. The most engaging thing about Ross's writing is that unlike most classical theorists who write about the 20th century, Ross actually understands rock and jazz music. The chronological development in the book is the movement from Mahler, who was very popular and well known, through Aaron Copland who was very popular and well known only after he deliberately popularized his music, into music that largely lost the concert audience, and then into music like minimalism that rejected the idea of symphony concerts altogether and therefore connected with a completely different audience. I am grotesquely oversimplifying what Ross wrote about (and lest you take me wrong, his own affection for "difficult" music is very clear), I'd advise anyone interested in serious art music of the 20th century to pick the book up. Even if you already know your Webern from your Schoenberg, it's a fascinating read because his take is very fresh.
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- KVRAF
- 10286 posts since 17 Sep, 2004 from Austin, TX
1) no danger there for me - it saddens me deeply how often this happens to others, thoughPer Lichtman wrote:That assessment process can almost always be helpful, as long as we don't overdo self-judgment or cripple ourselves with it.
I had a chance to spend some time studying west African drumming and dance as well as Balinese and Javanese gamelan and found them very creatively stimulating. However, I found Claude Debussy's music following his exposure to gamelan to also be very creative and stimulating. Its simply not always the case that western exposure to foreign cultures results in work devoid of creativity.
I don't get to ask these kinds of questions very often, so I'll indulge my curiosity for a moment. Please bear with me.What were some of your favorite compositional trends of the 20th century?
2) Certainly I didn't mean to imply that Western music hasn't been enhanced by global interconnectedness - quite the opposite. Just that the minimalists' music isn't even close to their source of inspiration. Frankly, it's the other way around - it's taken other cultures' quite a long time to benefit from exposure to Western music. In some places, like China, they lag far behind, the mainstream is just spinning their wheels in copying Japan, who's mainstream isn't quite as daring as Burt Bacharat yet. I chalk it up to access to resources, personally, something places like KVR are helping to ameliorate.
3) I worked 16 of the last 24 hours so I'll get into that some other time.'
Honorable mention to Meffy for splitting this off; it's fun to chat with Per.
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- KVRAF
- 1585 posts since 13 Nov, 2005 from St. Paul
Hey hey, watch it with the Burt Bacharach, as if that was a bad thing...
I think the problem for China has always been the same as the problem for Cuba; they have a very rigid state-controlled media that restricts a lot of expression that has nothing to do with politics including musical innovation. Importation of any western music is seen as a threat.
By analogy, as Japan is to China, so is Brazil to Cuba. Brazil absorbed American jazz and turned out bossa nova which in turn has been hugely influential in a number of strains of American music, absorbed psychedelic music and generated Os Mutantes and Tropicalismo (Carlinos Brown, Tom Ze, etc.), and they've had a thriving electronic music scene in the interim. In Cuba they're basically just doing the exact same thing they did in the 1950's to go with the 1950's cars. Japan does have a very vital underground music scene that includes music like the Boredoms and Merzbow that has been informed heavily by western music.
Mainstream anywhere pretty much is a danger zone in terms of quality or innovation. I'd hardly hold up the mainstream of American music as an example of positive musical development in a culture. Having said that, mainstream Chinese soft rock is some of the most painful schmaltz I've ever heard.
I think the problem for China has always been the same as the problem for Cuba; they have a very rigid state-controlled media that restricts a lot of expression that has nothing to do with politics including musical innovation. Importation of any western music is seen as a threat.
By analogy, as Japan is to China, so is Brazil to Cuba. Brazil absorbed American jazz and turned out bossa nova which in turn has been hugely influential in a number of strains of American music, absorbed psychedelic music and generated Os Mutantes and Tropicalismo (Carlinos Brown, Tom Ze, etc.), and they've had a thriving electronic music scene in the interim. In Cuba they're basically just doing the exact same thing they did in the 1950's to go with the 1950's cars. Japan does have a very vital underground music scene that includes music like the Boredoms and Merzbow that has been informed heavily by western music.
Mainstream anywhere pretty much is a danger zone in terms of quality or innovation. I'd hardly hold up the mainstream of American music as an example of positive musical development in a culture. Having said that, mainstream Chinese soft rock is some of the most painful schmaltz I've ever heard.