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Orchid XP v8 escreveu:
> nemesis wrote:
>> will you try it on the organ or do you have a piano around?
>
> Using my MIDI controller to control Kontakt, I have some actual sound
> samples of a real celesta. (Although it actually sounds not bad on
> harpsichord too...)
ah, that's much better too! XD
--
a game sig: http://tinyurl.com/d3rxz9
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>>> will you try it on the organ or do you have a piano around?
>>
>> Using my MIDI controller to control Kontakt, I have some actual sound
>> samples of a real celesta. (Although it actually sounds not bad on
>> harpsichord too...)
>
> ah, that's much better too! XD
Having said that, I have a recording on DVD of the Dance of the Sugar
Plum Fairy played on the organ at Liverpool Cathedral. It has an almost
bell-like quality, which sounds really nice...
Check this out:
http://www.youtube.com/watch?v=GEhWzkgR6AQ
(Not quite as good, but still a lot of fun.)
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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Orchid XP v8 wrote:
> Check this out:
>
> http://www.youtube.com/watch?v=GEhWzkgR6AQ
For extra fun:
http://www.youtube.com/watch?v=hKDJ6Z_stvg
That's some pretty insane footwork. And check out those runs of the
scale where he changes hands half way though... I'll never be this good,
sadly.
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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Orchid XP v8 escreveu:
> Orchid XP v8 wrote:
>
>> Check this out:
>>
>> http://www.youtube.com/watch?v=GEhWzkgR6AQ
>
> For extra fun:
>
> http://www.youtube.com/watch?v=hKDJ6Z_stvg
>
> That's some pretty insane footwork. And check out those runs of the
> scale where he changes hands half way though... I'll never be this good,
> sadly.
youtube only at home... :/
--
a game sig: http://tinyurl.com/d3rxz9
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On Thu, 01 Oct 2009 18:31:12 +0100, Stephen wrote:
> On 1 Oct 2009 11:20:05 -0400, Jim Henderson <nos### [at] nospam com> wrote:
>
>>On Thu, 01 Oct 2009 15:17:58 +0100, Orchid XP v8 wrote:
>>
>>> OH MY LIFE! O_O
>>>
>>> Chromatic chord progressions, MUCH?
>>
>>Heh, have a look at some Stravinksy sometime - like the Rite of Spring.
>>;-)
>>
>>
> Everyone to their own :P
OK, Wagner, then. :-)
Jim
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On 1 Oct 2009 15:07:03 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>>>Heh, have a look at some Stravinksy sometime - like the Rite of Spring.
>>>;-)
>>>
>>>
>> Everyone to their own :P
>
>OK, Wagner, then. :-)
My upper limit, Benjamin Britain excepted :-)
--
Regards
Stephen
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On Thu, 01 Oct 2009 20:56:42 +0100, Stephen wrote:
> On 1 Oct 2009 15:07:03 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>
>>>>Heh, have a look at some Stravinksy sometime - like the Rite of
>>>>Spring. ;-)
>>>>
>>>>
>>> Everyone to their own :P
>>
>>OK, Wagner, then. :-)
>
> My upper limit, Benjamin Britain excepted :-)
LOL
John Cage? ;-)
Jim
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Jim Henderson wrote:
> John Cage? ;-)
I'm sure he at least wouldn't mind 4'33" ;-)
Along these lines I was very surprised to find that a professor who was
sitting in on a computer science seminar with me was actually a pupil of
Xenakis. He had some amusing stories to tell about how Xenakis once
cleared out an entire concert hall save for three of his students
(including the professor) in the front row.
I was also lucky enough to hear a good reproduction of La Légende d'Eer
in an actual concert a couple of years ago. My girlfriend who I'd
dragged to the event was somewhat less enthusiastic.
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On 1 Oct 2009 16:23:39 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>> My upper limit, Benjamin Britain excepted :-)
>
>LOL
>
>John Cage? ;-)
LOL, reminds me of the 1950s/60s jukebox record of 2.5 mins of silence or the
Picasso art where he sold signed blank pieces of paper.
--
Regards
Stephen
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On Thu, 01 Oct 2009 13:36:10 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>Jim Henderson wrote:
>
>> John Cage? ;-)
>
>I'm sure he at least wouldn't mind 4'33" ;-)
>
>Along these lines I was very surprised to find that a professor who was
>sitting in on a computer science seminar with me was actually a pupil of
>Xenakis. He had some amusing stories to tell about how Xenakis once
>cleared out an entire concert hall save for three of his students
>(including the professor) in the front row.
>
>I was also lucky enough to hear a good reproduction of La Légende d'Eer
>in an actual concert a couple of years ago. My girlfriend who I'd
>dragged to the event was somewhat less enthusiastic.
Thank you for that. May I respond with "Several Species Of Small Furry Animals
Gathered Together In A Cave And Grooving With A Pict"?
--
Regards
Stephen
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Stephen wrote:
> Thank you for that. May I respond with "Several Species Of Small Furry Animals
> Gathered Together In A Cave And Grooving With A Pict"?
Ah, quality...
If it weren't for the price tag, I'd buy this.
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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Stephen wrote:
> Thank you for that. May I respond with "Several Species Of Small Furry Animals
> Gathered Together In A Cave And Grooving With A Pict"?
Sounds like a landmark piece of contemporary music!
In seriousness, I found the process of learning to like modern music
pretty similar to how I learned to enjoy beer. Sure it seemed terrible
at first, but once I got used to it I started to really appreciate it.
Not all of it mind you, I still dislike some beers and find some modern
music (like 4'33" for instance) to be rather silly.
Not trying to convince you to try it out of course -- I totally
understand why many people hate that sort of music.
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Stephen wrote:
> Thank you for that. May I respond with "Several Species Of Small Furry Animals
> Gathered Together In A Cave And Grooving With A Pict"?
Also, now that I've actually listened to this -- hilarious! I didn't
realize it was an actual song at first and instead just thought you'd
made up the name as a parody of contemporary music (instead Pink Floyd
did that I suppose).
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>> Thank you for that. May I respond with "Several Species Of Small Furry
>> Animals
>> Gathered Together In A Cave And Grooving With A Pict"?
>
> Also, now that I've actually listened to this -- hilarious! I didn't
> realize it was an actual song at first and instead just thought you'd
> made up the name as a parody of contemporary music (instead Pink Floyd
> did that I suppose).
Not only is it real, but the title is actually a surprisingly accurate
description of the content. ;-)
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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On Thu, 01 Oct 2009 21:47:17 +0100, Stephen wrote:
> On 1 Oct 2009 16:23:39 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>
>>> My upper limit, Benjamin Britain excepted :-)
>>
>>LOL
>>
>>John Cage? ;-)
>
> LOL, reminds me of the 1950s/60s jukebox record of 2.5 mins of silence
> or the Picasso art where he sold signed blank pieces of paper.
4:33 is one of my favourite Cage pieces. ;-)
Jim
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On Thu, 01 Oct 2009 13:36:10 -0700, Kevin Wampler wrote:
> Jim Henderson wrote:
>
>> John Cage? ;-)
>
> I'm sure he at least wouldn't mind 4'33" ;-)
I think it rather depends on what occurs during that period of time. The
premise of that score is interesting, though. The thing I found funny
about Cage's scores was that they tended to look more like they came off
an EKG machine rather than musical notation. I remember one that had
three graphs - one for pitch, one for amplitude, and one for rate (IIRC).
> Along these lines I was very surprised to find that a professor who was
> sitting in on a computer science seminar with me was actually a pupil of
> Xenakis. He had some amusing stories to tell about how Xenakis once
> cleared out an entire concert hall save for three of his students
> (including the professor) in the front row.
LOL - so how does the story go?
> I was also lucky enough to hear a good reproduction of La Légende d'Eer
> in an actual concert a couple of years ago. My girlfriend who I'd
> dragged to the event was somewhat less enthusiastic.
I'm going to have to look that one up - I don't think I've ever heard of
it before.
Jim
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Jim Henderson wrote:
> On Thu, 01 Oct 2009 13:36:10 -0700, Kevin Wampler wrote:
>
>> Jim Henderson wrote:
>>
>>> John Cage? ;-)
>> I'm sure he at least wouldn't mind 4'33" ;-)
>
> I think it rather depends on what occurs during that period of time. The
> premise of that score is interesting, though. The thing I found funny
> about Cage's scores was that they tended to look more like they came off
> an EKG machine rather than musical notation. I remember one that had
> three graphs - one for pitch, one for amplitude, and one for rate (IIRC).
Nonstandard notation of this sort is not uncommon in a lot of
contemporary music and cage is certainly not the only person to use it.
It is pretty strange to look at coming from traditional western notion
though. Once you start getting into Aleatoric music (as Cage did) you
get even more bizarre notations.
>> Along these lines I was very surprised to find that a professor who was
>> sitting in on a computer science seminar with me was actually a pupil of
>> Xenakis. He had some amusing stories to tell about how Xenakis once
>> cleared out an entire concert hall save for three of his students
>> (including the professor) in the front row.
>
> LOL - so how does the story go?
About like it sounds. I was giving a sort presentation on some computer
music topics and I played an example of Xenakis' Myceane Alpha. The
professor then related how Xenakis had given a concert at some music
conference and played this or a similar piece at about 120dB.
Apparently the audience did not last long and by the end only his
students were left. I'll need to remember to ask him next time I see
him if this was Xenakis' intent from the beginning (and if Xenakis
thought it was humorous).
>> I was also lucky enough to hear a good reproduction of La Légende d'Eer
>> in an actual concert a couple of years ago. My girlfriend who I'd
>> dragged to the event was somewhat less enthusiastic.
>
> I'm going to have to look that one up - I don't think I've ever heard of
> it before.
Unfortunately none of the recordings do it justice. The piece was
initially composed for seven tracks each playing from a speaker in a
different part of the concert hall (actually, it was composed for a
particular concert space which Xenakis himself designed). This allowed
Xenakis to make heavy use of the three-dimensional placement of the
sound, and this is more or less totally lost in the available
recordings. This was one of the reasons why it was so cool to hear a
proper reproduction in a concert hall.
My girlfriend was amused that he was able to create an entirely new form
of musical suspense when she realized that a really loud sound somewhat
like a rocket taking off was slowly moving over to our side of the theater.
Side note: This piece was written to celebrate the opening of Pompidou.
Another side note: It's not easy listening.
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On Thu, 01 Oct 2009 15:39:37 -0700, Kevin Wampler wrote:
>> came off an EKG machine rather than musical notation. I remember one
>> that had three graphs - one for pitch, one for amplitude, and one for
>> rate (IIRC).
>
> Nonstandard notation of this sort is not uncommon in a lot of
> contemporary music and cage is certainly not the only person to use it.
> It is pretty strange to look at coming from traditional western notion
> though. Once you start getting into Aleatoric music (as Cage did) you
> get even more bizarre notations.
That doesn't surprise me. At the time it did, but I was in my mid-teens
at the time and had only seen western style music notation.
>> LOL - so how does the story go?
>
> About like it sounds. I was giving a sort presentation on some computer
> music topics and I played an example of Xenakis' Myceane Alpha. The
> professor then related how Xenakis had given a concert at some music
> conference and played this or a similar piece at about 120dB. Apparently
> the audience did not last long and by the end only his students were
> left. I'll need to remember to ask him next time I see him if this was
> Xenakis' intent from the beginning (and if Xenakis thought it was
> humorous).
Interesting. That is certainly loud - did the students have any sort of
ear protection?
>> I'm going to have to look that one up - I don't think I've ever heard
>> of it before.
>
> Unfortunately none of the recordings do it justice. The piece was
> initially composed for seven tracks each playing from a speaker in a
> different part of the concert hall (actually, it was composed for a
> particular concert space which Xenakis himself designed). This allowed
> Xenakis to make heavy use of the three-dimensional placement of the
> sound, and this is more or less totally lost in the available
> recordings. This was one of the reasons why it was so cool to hear a
> proper reproduction in a concert hall.
That does sound cool. I have always liked sound reproduction that
involves the space as part of the performance, but it's so rare because
it requires a lot of planning and setup work.
> My girlfriend was amused that he was able to create an entirely new form
> of musical suspense when she realized that a really loud sound somewhat
> like a rocket taking off was slowly moving over to our side of the
> theater.
>
> Side note: This piece was written to celebrate the opening of Pompidou.
> Another side note: It's not easy listening.
Cool. :-)
Jim
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Jim Henderson wrote:
>
> Interesting. That is certainly loud - did the students have any sort of
> ear protection?
I'm not sure. It might not have *actually* been 120dB either, but just
really loud.
>
> That does sound cool. I have always liked sound reproduction that
> involves the space as part of the performance, but it's so rare because
> it requires a lot of planning and setup work.
>
Indeed. Every now and then I manage to catch an art museum with some
sort of exhibit which incorporates sound and/or music into a space. I
almost always enjoy it.
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On Thu, 01 Oct 2009 17:20:57 -0700, Kevin Wampler wrote:
> Jim Henderson wrote:
>>
>> Interesting. That is certainly loud - did the students have any sort
>> of ear protection?
>
> I'm not sure. It might not have *actually* been 120dB either, but just
> really loud.
I guess at that point it makes little difference what the actual dB level
is. :-)
>> That does sound cool. I have always liked sound reproduction that
>> involves the space as part of the performance, but it's so rare because
>> it requires a lot of planning and setup work.
>>
>>
> Indeed. Every now and then I manage to catch an art museum with some
> sort of exhibit which incorporates sound and/or music into a space. I
> almost always enjoy it.
I'm going to have to see if there's anything here in SLC like that
now. :-)
Jim
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On Thu, 01 Oct 2009 14:27:57 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>
>Not trying to convince you to try it out of course -- I totally
>understand why many people hate that sort of music.
Well I have tried to like modern classical music but it is very hard going on my
ears. I found that Benjamin Britain crept around my mental block with his Sea
Interludes from Peter Grimes. Also Wagner is OK if you don't think about what he
is saying, I draw the line at Mahler. I physically want to get up and leave. Sad
as I feel that I *should* enjoy it.
Now I am listening to a lot of Handle especially his Concerto Grosse. :D
--
Regards
Stephen
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On Thu, 01 Oct 2009 14:32:21 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>Stephen wrote:
>> Thank you for that. May I respond with "Several Species Of Small Furry Animals
>> Gathered Together In A Cave And Grooving With A Pict"?
>
>Also, now that I've actually listened to this -- hilarious! I didn't
>realize it was an actual song at first and instead just thought you'd
>made up the name as a parody of contemporary music (instead Pink Floyd
>did that I suppose).
No I spent many hours listening to it in my youth. :D
How about "Set the controls for the heart of the Sun"?
--
Regards
Stephen
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On 1 Oct 2009 18:00:08 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>> LOL, reminds me of the 1950s/60s jukebox record of 2.5 mins of silence
>> or the Picasso art where he sold signed blank pieces of paper.
>
>4:33 is one of my favourite Cage pieces. ;-)
>
Sorry to be a Philistine but paying money to see/hear that is a joke.
Typical Scots stereotype :P
--
Regards
Stephen
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Stephen wrote:
> How about "Set the controls for the heart of the Sun"?
Witness the man who waves at the wall,
Making the shape of his question to heaven,
Whether the Sun will fall in the evening,
Will he remember the lesson of giving?
Set the controls for the heart of the Sun.
The heart of the Sun. The heart of the Sun. The heart of the Sun. The
heart of the Sun. The heart of the Sun. The heart of the Sun. The heart
of the Sun. The heart of the Sun. The heart of the Sun. The heart of the
Sun. The heart of the Sun. The heart of the Sun. The heart of the Sun.
The heart of the Sun. The heart of the Sun. The heart of the Sun...
Lucifer Sam, anyone?
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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On Fri, 02 Oct 2009 11:46:38 +0100, Orchid XP v8 <voi### [at] devnull> wrote:
>Stephen wrote:
>
>> How about "Set the controls for the heart of the Sun"?
>
>Witness the man who waves at the wall,
>Making the shape of his question to heaven,
>Whether the Sun will fall in the evening,
>Will he remember the lesson of giving?
>Set the controls for the heart of the Sun.
>
>The heart of the Sun. The heart of the Sun. The heart of the Sun. The
>heart of the Sun. The heart of the Sun. The heart of the Sun. The heart
>of the Sun. The heart of the Sun. The heart of the Sun. The heart of the
>Sun. The heart of the Sun. The heart of the Sun. The heart of the Sun.
>The heart of the Sun. The heart of the Sun. The heart of the Sun...
>
>
So you do know how to use Google :P
--
Regards
Stephen
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>> Witness the man who waves at the wall,
>> Making the shape of his question to heaven,
>> Whether the Sun will fall in the evening,
>> Will he remember the lesson of giving?
>> Set the controls for the heart of the Sun.
>>
>> The heart of the Sun. The heart of the Sun. The heart of the Sun. The
>> heart of the Sun. The heart of the Sun. The heart of the Sun. The heart
>> of the Sun. The heart of the Sun. The heart of the Sun. The heart of the
>> Sun. The heart of the Sun. The heart of the Sun. The heart of the Sun.
>> The heart of the Sun. The heart of the Sun. The heart of the Sun...
>
> So you do know how to use Google :P
Why would I need that? I have the sleeve notes right next to me. :-P
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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On Fri, 02 Oct 2009 11:26:17 +0100, Stephen wrote:
> On 1 Oct 2009 18:00:08 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>
>>> LOL, reminds me of the 1950s/60s jukebox record of 2.5 mins of silence
>>> or the Picasso art where he sold signed blank pieces of paper.
>>
>>4:33 is one of my favourite Cage pieces. ;-)
>>
>>
> Sorry to be a Philistine but paying money to see/hear that is a joke.
>
> Typical Scots stereotype :P
Oh, I never said I'd pay money to see/hear it. ;-)
But I've heard it several times myself - in fact, you could say, I've
performed it several times (never for an audience, though - and certainly
never for profit).
Jim
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Stephen wrote:
> On Thu, 01 Oct 2009 14:27:57 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
> wrote:
>
>> Not trying to convince you to try it out of course -- I totally
>> understand why many people hate that sort of music.
>
> Well I have tried to like modern classical music but it is very hard going on my
> ears. I found that Benjamin Britain crept around my mental block with his Sea
> Interludes from Peter Grimes. Also Wagner is OK if you don't think about what he
> is saying, I draw the line at Mahler. I physically want to get up and leave. Sad
> as I feel that I *should* enjoy it.
That's odd -- I've never thought of Mahler as being particularly taxing
to listen to. It the tonality of the music actually grating to listen
to or is it more that the large-scale structures bother you?
> Now I am listening to a lot of Handle especially his Concerto Grosse. :D
Good stuff! Despite that I do really like modern music, I still spend
most of my time listening to stuff more like this (well, this through
late Romantic).
If baroque or classical style is more to your liking but you're still
interested in listening to some more modernish composers without the
earache you might take a listen to Prokofiev's Symphony No.1,
Villa-Lobos' Bachianas Brasileiras (no.5 is the best known here), or
some of Busoni's Bach transcriptions (his arrangement of the famous
Chaconne for violin in particular is quite well known) to name a few.
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Stephen wrote:
>> Stephen wrote:
>>> Thank you for that. May I respond with "Several Species Of Small Furry Animals
>>> Gathered Together In A Cave And Grooving With A Pict"?
> No I spent many hours listening to it in my youth. :D
And you say you don't like avant-garde music :-)
> How about "Set the controls for the heart of the Sun"?
I have heard this one (and quite like it). I really should get a few
more Pink Floyd albums though, it's just that there's already so much
music in my queue to buy.
I'm always impressed by how little their sound has aged over the years.
Most bands who have stuff that old have a pretty "dated" sound to me
now, but somehow Pink Floyd manages to still manages to sound like it
could have been made recently.
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"Kevin Wampler" <wam### [at] uwashingtonedu> a écrit dans le message de news:
4ac665a8@news.povray.org...
> Most bands who have stuff that old have a pretty "dated" sound to me now,
You mean like the Beatles, Jimi Hendrix, Led Zeppelin, Deep Purple, the
Kinks, the Who, Frank Zappa...?
Marc
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>> Most bands who have stuff that old have a pretty "dated" sound to me now,
>
> You mean like the Beatles, Jimi Hendrix, Led Zeppelin, Deep Purple, the
> Kinks, the Who, Frank Zappa...?
...what are you talking about?
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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"Orchid XP v8" <voi### [at] devnull> a écrit dans le message de news:
4ac67488$1@news.povray.org...
>>> Most bands who have stuff that old have a pretty "dated" sound to me
>>> now,
>>
>> You mean like the Beatles, Jimi Hendrix, Led Zeppelin, Deep Purple, the
>> Kinks, the Who, Frank Zappa...?
>
> ...what are you talking about?
>
I was replying to Kevin who told (if I understand well) that most bands who
have stuff as old as Ummagumma sound dated...just question of taste
Marc
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m_a_r_c wrote:
> "Kevin Wampler" <wam### [at] uwashingtonedu> a écrit dans le message de news:
> 4ac665a8@news.povray.org...
>
>> Most bands who have stuff that old have a pretty "dated" sound to me now,
>
> You mean like the Beatles, Jimi Hendrix, Led Zeppelin, Deep Purple, the
> Kinks, the Who, Frank Zappa...?
Yes, with the caveat that I didn't mean "dated" in any sort of bad way
-- more just that it's more clear from listening to it when the music
was written. I still think they are as good to listen to as they ever
were. I mean, heck, since I like a lot of classical music it would be
pretty surreal to use "dated" as a pejorative.
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"Kevin Wampler" <wam### [at] uwashingtonedu> a écrit dans le message de news:
4ac6999e$1@news.povray.org...
> m_a_r_c wrote:
>
> Yes, with the caveat that I didn't mean "dated" in any sort of bad way --
> more just that it's more clear from listening to it when the music was
> written. I still think they are as good to listen to as they ever were.
> I mean, heck, since I like a lot of classical music it would be pretty
> surreal to use "dated" as a pejorative.
I did not understand it as pejorative but I still disagree :-)
We still hear Hendrix, Led Zep, the Who .... as soundtracks backing tracks
or as them of tv shows and those tracks could have been recorded yesterday
night..
What about *early* Pink Floyd?
I have the feeling that they were searching during that period (BTW some
must do it) while other were finding a new sound which is still surrounding
us.
Now it is a question of taste :-)
Marc
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On Fri, 02 Oct 2009 13:35:13 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>
>That's odd -- I've never thought of Mahler as being particularly taxing
>to listen to. It the tonality of the music actually grating to listen
>to or is it more that the large-scale structures bother you?
>
It is the tonality that gets to me. Although I do like Kindertotenlieder.
>> Now I am listening to a lot of Handle especially his Concerto Grosse. :D
>
>Good stuff! Despite that I do really like modern music, I still spend
>most of my time listening to stuff more like this (well, this through
>late Romantic).
>
>If baroque or classical style is more to your liking but you're still
>interested in listening to some more modernish composers without the
>earache you might take a listen to Prokofiev's Symphony No.1,
OK I liked the clip I heard on you tube. I think that I must have been put off
him by seeing a couple of his operas. The first ever opera I ever went to was
"The Love for Three Oranges" then I saw "The Fiery Angel" at Covent Garden. I
like the concept but find the actual music too "sharp" to bear. For some reason
I confuse him with Shostakovich.
Needles to say I don't like Richard Strauss not to be confused with Johann
Strauss :)
>Villa-Lobos' Bachianas Brasileiras (no.5 is the best known here), or
>some of Busoni's Bach transcriptions (his arrangement of the famous
>Chaconne for violin in particular is quite well known) to name a few.
Yes I could listen to these and I thank you. I suppose that my problem (one of
them actually) is that I had no musical education and have had to pick things up
on my own.
--
Regards
Stephen
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On Fri, 02 Oct 2009 16:13:40 +0100, Orchid XP v8 <voi### [at] devnull> wrote:
>Why would I need that? I have the sleeve notes right next to me. :-P
Why indeed :)
--
Regards
Stephen
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On Fri, 02 Oct 2009 13:42:12 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>Stephen wrote:
>>> Stephen wrote:
>>>> Thank you for that. May I respond with "Several Species Of Small Furry Animals
>>>> Gathered Together In A Cave And Grooving With A Pict"?
>> No I spent many hours listening to it in my youth. :D
>
>And you say you don't like avant-garde music :-)
>
Where? What? When?
I didn't say that at least I don't think I did. I tend to split up my musical
tastes into eras that are quite distinct. In the 60's I liked pop music and folk
music (Scottish and Irish) in the 70's Rock, Blues and Psychedelia. The 80's say
me being corrupted with Classical and Opera. I seldom listen to my earlier
likes.
>> How about "Set the controls for the heart of the Sun"?
>
>I have heard this one (and quite like it). I really should get a few
>more Pink Floyd albums though, it's just that there's already so much
>music in my queue to buy.
>
How true :)
>I'm always impressed by how little their sound has aged over the years.
> Most bands who have stuff that old have a pretty "dated" sound to me
>now, but somehow Pink Floyd manages to still manages to sound like it
>could have been made recently.
I agree they were so "off the wall" they were in a universe of their own.
--
Regards
Stephen
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On 2 Oct 2009 12:05:46 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>
>Oh, I never said I'd pay money to see/hear it. ;-)
>
Phew!
>But I've heard it several times myself - in fact, you could say, I've
>performed it several times (never for an audience, though - and certainly
>never for profit).
MacFucius say: "Man who listen to Cage has wax in his ears! Aum!
--
Regards
Stephen
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Stephen wrote:
> OK I liked the clip I heard on you tube. I think that I must have been put off
> him by seeing a couple of his operas. The first ever opera I ever went to was
> "The Love for Three Oranges" then I saw "The Fiery Angel" at Covent Garden. I
> like the concept but find the actual music too "sharp" to bear. For some reason
> I confuse him with Shostakovich.
I mentioned this piece in particular (as well as the Villa-Lobos and
Busoni pieces) is that it's a blend of modern and classical forms.
Prokofiev wrote this symphony with the idea "What sort of symphony would
Haydn write if he were alive today?" I figured this would make them a
bit more palatable.
> Needles to say I don't like Richard Strauss not to be confused with Johann
> Strauss :)
You don't like Richard Strauss!? I can see some of his operas and such
but many of his tone poems at least have quite normal tonality. Also,
even if you don't like his music, if you haven't heard his Vier Letzte
Lieder then you really, really should. I'm hard pressed to think of
more beautiful pieces of music written in the 20th century (I prefer the
version with Karajan and Gundula Janowitz, but tastes vary here).
> Yes I could listen to these and I thank you. I suppose that my problem (one of
> them actually) is that I had no musical education and have had to pick things up
> on my own.
Truly, it is my pleasure to recommend music and I'm totally happy to
suggest many more pieces whenever you should want it.
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m_a_r_c wrote:
> I did not understand it as pejorative but I still disagree :-)
> We still hear Hendrix, Led Zep, the Who .... as soundtracks backing tracks
> or as them of tv shows and those tracks could have been recorded yesterday
> night..
> What about *early* Pink Floyd?
Maybe somewhat less so with early Pink Floyd. I do think that's it's
more a matter of opinion than anything which actually has a definite
answer though. I think mostly it derives from the fact that to me Pink
Floyd's sound seems more removed from that of other bands in the same
time. I sort of suspect that I'll view Radiohead similarly in a few
decades for about the same reason. Still though, I'll go with you
"question of taste" assessment.
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On Sat, 03 Oct 2009 12:09:16 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>Stephen wrote:
>
>> OK I liked the clip I heard on you tube. I think that I must have been put off
>> him by seeing a couple of his operas. The first ever opera I ever went to was
>> "The Love for Three Oranges" then I saw "The Fiery Angel" at Covent Garden. I
>> like the concept but find the actual music too "sharp" to bear. For some reason
>> I confuse him with Shostakovich.
>
>I mentioned this piece in particular (as well as the Villa-Lobos and
>Busoni pieces) is that it's a blend of modern and classical forms.
>Prokofiev wrote this symphony with the idea "What sort of symphony would
>Haydn write if he were alive today?" I figured this would make them a
>bit more palatable.
>
>
It does indeed :)
>> Needles to say I don't like Richard Strauss not to be confused with Johann
>> Strauss :)
>
>You don't like Richard Strauss!? I can see some of his operas and such
>but many of his tone poems at least have quite normal tonality. Also,
>even if you don't like his music, if you haven't heard his Vier Letzte
>Lieder then you really, really should. I'm hard pressed to think of
>more beautiful pieces of music written in the 20th century (I prefer the
>version with Karajan and Gundula Janowitz, but tastes vary here).
>
Too much to do, too little time to do it.
>
>> Yes I could listen to these and I thank you. I suppose that my problem (one of
>> them actually) is that I had no musical education and have had to pick things up
>> on my own.
>
>Truly, it is my pleasure to recommend music and I'm totally happy to
>suggest many more pieces whenever you should want it.
It is a pleasure to share and thank you.
--
Regards
Stephen
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On Sat, 03 Oct 2009 10:25:46 +0100, Stephen wrote:
> On 2 Oct 2009 12:05:46 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>
>
>>Oh, I never said I'd pay money to see/hear it. ;-)
>>
>>
> Phew!
:-)
>>But I've heard it several times myself - in fact, you could say, I've
>>performed it several times (never for an audience, though - and
>>certainly never for profit).
>
> MacFucius say: "Man who listen to Cage has wax in his ears! Aum!
LOL
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On Sun, 04 Oct 2009 12:13:23 +0100, Stephen <mcavoysAT@aolDOTcom> wrote:
>
>Too much to do, too little time to do it.
Forget it! After a 5 hour car journey that should only have taken 3 hours I fell
back on "The Music for the Royal Fireworks". Hmm bliss :D
--
Regards
Stephen
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On 4 Oct 2009 15:06:45 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>> MacFucius say: "Man who listen to Cage has wax in his ears! Aum!
>
>LOL
No charge :P
--
Regards
Stephen
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Stephen wrote:
> On Sun, 04 Oct 2009 12:13:23 +0100, Stephen <mcavoysAT@aolDOTcom> wrote:
>
>> Too much to do, too little time to do it.
>
> Forget it! After a 5 hour car journey that should only have taken 3 hours I fell
> back on "The Music for the Royal Fireworks". Hmm bliss :D
I thought you lived in England? I didn't know there were 5-hour car
rides there. (also, good choice in music!)
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On Sun, 04 Oct 2009 15:39:22 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>Stephen wrote:
>> On Sun, 04 Oct 2009 12:13:23 +0100, Stephen <mcavoysAT@aolDOTcom> wrote:
>>
>>> Too much to do, too little time to do it.
>>
>> Forget it! After a 5 hour car journey that should only have taken 3 hours I fell
>> back on "The Music for the Royal Fireworks". Hmm bliss :D
>
>
>I thought you lived in England? I didn't know there were 5-hour car
>rides there.
You might be surprised then that England is a bit bigger than you thought. For
instance it is about three hundred miles from London to Carlisle which is about
a five hour drive at the speed limits of 70 mph on motorways and 60 on some dual
carriageways. London to Penzance (where the pirates come from) is just over 300
miles again about 5 hours. Penzance to Thurso at the far north of Scotland is
800 miles and fourteen and a half hours driving non stop. (OK Scotland is not in
England but they both are in Britain :)
> (also, good choice in music!)
I don't know the "Fireworks" is not conducive for keeping to the speed limits.
It will be the "Beggars Opera" on the way back.
--
Regards
Stephen
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Stephen wrote:
>> I thought you lived in England? I didn't know there were 5-hour car
>> rides there.
>
> You might be surprised then that England is a bit bigger than you thought. For
> instance it is about three hundred miles from London to Carlisle which is about
> a five hour drive at the speed limits of 70 mph on motorways and 60 on some dual
> carriageways. London to Penzance (where the pirates come from) is just over 300
> miles again about 5 hours. Penzance to Thurso at the far north of Scotland is
> 800 miles and fourteen and a half hours driving non stop. (OK Scotland is not in
> England but they both are in Britain :)
Embarrassingly I seem to have remembered the size more or less correctly
but forgotten that people can drive north-south as well as east-west.
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On Mon, 05 Oct 2009 21:30:04 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>Embarrassingly I seem to have remembered the size more or less correctly
>but forgotten that people can drive north-south as well as east-west.
Since you mention it North-South is fine but East-West can be problematic. Both
the roads and trains seem to have an aversion going in that direction. :(
--
Regards
Stephen
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Stephen wrote:
> On Mon, 05 Oct 2009 21:30:04 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
> wrote:
>
>> Embarrassingly I seem to have remembered the size more or less correctly
>> but forgotten that people can drive north-south as well as east-west.
>
> Since you mention it North-South is fine but East-West can be problematic. Both
> the roads and trains seem to have an aversion going in that direction. :(
Haha, figures!
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On Tue, 06 Oct 2009 09:58:31 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>Stephen wrote:
>> On Mon, 05 Oct 2009 21:30:04 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
>> wrote:
>>
>>> Embarrassingly I seem to have remembered the size more or less correctly
>>> but forgotten that people can drive north-south as well as east-west.
>>
>> Since you mention it North-South is fine but East-West can be problematic. Both
>> the roads and trains seem to have an aversion going in that direction. :(
>
>Haha, figures!
Something called the Pennine Chain gets in the way.
--
Regards
Stephen
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