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« Reply #75 on: 10:01:25, 16-03-2007 » |
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Gosh, George, you're up bright and early...
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George Garnett
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« Reply #76 on: 12:49:57, 16-03-2007 » |
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Early I'll grant you, bright....hmm.
I think it's largely to do with the different effects of having (a) rather more beer and (b) rather more orange juice than you meant to in advance. In the case of the former you wake up mid-morning feeling a bit hangoverish. In the case of the latter you wake up early with the trots.
(No, not the Trots. As it happens I went home alone last night.)
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richard barrett
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« Reply #77 on: 14:20:50, 16-03-2007 » |
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(No, not the Trots. As it happens I went home alone last night.) Strangely enough, though, the Trots ended up going home together, after one of them realised he'd missed the last train to Zone 6. |
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Ian Pace
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« Reply #78 on: 14:23:13, 16-03-2007 » |
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The Maoists were going in a different direction, I think.
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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George Garnett
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« Reply #79 on: 15:05:33, 16-03-2007 » |
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The words of Mercury are harsh after the songs of Apollo. You that way, we this way. the last train to Zone 6 Cue for an opera commission to bring Philip Glass and Doris Lessing together again? |
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« Last Edit: 15:15:09, 16-03-2007 by George Garnett »
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trained-pianist
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« Reply #80 on: 15:10:00, 16-03-2007 » |
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Where did you get thouse quotes from, George. To have such a thought as to see these two people together. <horror>
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Ian Pace
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« Reply #81 on: 15:30:35, 16-03-2007 » |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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« Reply #82 on: 15:37:15, 16-03-2007 » |
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I always lived in provinces and dd not know that. This sounds interesting. Thank you Ian.
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richard barrett
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« Reply #83 on: 15:44:07, 16-03-2007 » |
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To me it sounds about as interesting as filing one's own teeth down, but it all comes down to taste no doubt.
Why do I feel so lethargic today? Must be all those declensions.
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Ian Pace
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« Reply #84 on: 15:46:34, 16-03-2007 » |
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Preferable to having one's arm pierced by an unsterilised toothpick, though?
Next time we see Ollie and t-i-n, they'll be brandishing their holes-in-the-arms at us all, saying 'Look at those - we're 'ard! Felt nowt!'
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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Rcartes
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« Reply #85 on: 13:10:59, 03-04-2007 » |
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For me it would have to be the harmonica, spawn of the devil - or possible the accordion. This gives rise to the classical definition of the gentleman: one who can play the accordion, but doesn't.
Incidentally, several people nominated the saxophone. I'd agree about its use in classical music, for example John Harle is clearly a good musician but his tone is too bland, maybe because I'm too used to the saxophone in jazz? No-one could say that the best jazz exponents of the instrument were bland or oily: no-one who'd heard Coleman Hawkins, Lester Young, Ben Webster, Charlie Parker or Sonny Rollins, say, could express that view. So perhaps it's just that it's better suited to jazz than to classical music?
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richard barrett
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« Reply #86 on: 13:27:36, 03-04-2007 » |
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John Harle represents a certain (French) saxophone school which has unfortunately infected "classical" saxophone playing (and composing) to a great extent. For what it's worth I think most composers don't really know what to do with it, usually either going for that bland sound or using it as a "reference" to jazz, but actually there's no reason why it should be so restricted in usage - it's just as flexible as any other wind instrument, as is easily heard by listening to the enormous range of sonic and expressive character it has in the hands of diverse jazz players. I think the reason why it's not a regular orchestral instrument is partly because it arrived on the scene a little too late, and (less excusably) because of its associations with jazz, making it unworthy of the exalted company it would be keeping.
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marbleflugel
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« Reply #87 on: 13:31:10, 03-04-2007 » |
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Agreed, Roslyn - coming from the generation of kids who watched Tony Hart on "Vision On" on tv, I couldn't NOT like the vibraphone  Anyone know what that piece was called/ who it was by? It seems to have acquired an interesting "social trace", if I might put it like that! I'm not sure but I think it could well be by Duncan Lamont-saxist and library music composer extraordinanaire and a fine songwriter. |
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'...A celebrity is someone who didn't get the attention they needed as an adult'
Arnold Brown
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roslynmuse
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« Reply #88 on: 13:33:16, 03-04-2007 » |
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John Harle represents a certain (French) saxophone school which has unfortunately infected "classical" saxophone playing (and composing) to a great extent. For what it's worth I think most composers don't really know what to do with it, usually either going for that bland sound or using it as a "reference" to jazz, but actually there's no reason why it should be so restricted in usage - it's just as flexible as any other wind instrument, as is easily heard by listening to the enormous range of sonic and expressive character it has in the hands of diverse jazz players. I think the reason why it's not a regular orchestral instrument is partly because it arrived on the scene a little too late, and (less excusably) because of its associations with jazz, making it unworthy of the exalted company it would be keeping.
From the examples I have heard, the Dutch seem to have more of a measure of its possibilities - Ketting for example |
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Ian Pace
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« Reply #89 on: 13:45:44, 03-04-2007 » |
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Agreed, Roslyn - coming from the generation of kids who watched Tony Hart on "Vision On" on tv, I couldn't NOT like the vibraphone Anyone know what that piece was called/ who it was by? It seems to have acquired an interesting "social trace", if I might put it like that! I'm not sure but I think it could well be by Duncan Lamont-saxist and library music composer extraordinanaire and a fine songwriter. Time for some more idling on Sibelius (now that I've got a difficult review of Adorno finished):  (dotted rhythms to be played with a gentle swing) It was called Left Bank Two, written by Wayne Hill, and can be heard by clicking on the link at the bottom of here: http://en.wikipedia.org/wiki/Take_Hart Just read that Tony Hart designed the original Blue Peter badge as well. Hope it doesn't come to light that he was also some sort of right-wing ideologue like Norris McWhirter or someone (when I discovered that, wished I'd never given a minute of my time to his appearances on Record Breakers when I was young). |
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« Last Edit: 13:52:59, 03-04-2007 by Ian Pace »
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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