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Daniel
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« Reply #2160 on: 14:00:46, 05-06-2008 » |
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A
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« Reply #2162 on: 17:28:15, 05-06-2008 » |
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Sandals are definitely the best footwear in this weather. Providing of course that this weather is warm and dry.
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Well, there you are.
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thompson1780
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« Reply #2163 on: 23:08:18, 05-06-2008 » |
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TIDDLE POM TIDDLE POM POM POM POMMMM DI TIDDLE-WIDDLE POM POM POM!
tiddle pom tiddle pom tiddle pom pom pom
tiddle pom tiddle pom tiddle pom pom pom
tiddle pom pom pom tiddle pom pom pom
tiddle pom pim pom pim pom TIDDLE-WIDDLE-
PIDDLE POM TIDDLE POM TIDDLE POM POM POM.... etc
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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A
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« Reply #2164 on: 23:36:27, 05-06-2008 » |
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Radetsky to you too  |
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Well, there you are.
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thompson1780
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« Reply #2165 on: 23:46:09, 05-06-2008 » |
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I've long held to the theory, revealed here in public for the first time, that all classical music divides broadly into two categories: that which is written to be performed by pigs, and that written for chickens. Everything, you will find, falls into one category or the other.
For example, to take one of the Beethoven symphonies at random, the opening movement is clearly in pig:
Oink oink oink oiiiiink
Oink oink oink oiiiiink
while the finale opens with a magnificent passage in chicken:
Pwaark!, pwaark!, pwaark!!
pwk pwk pwk pwk pwk pwerk
Once you have realised this, musical analysis becomes so much simpler. The William Tell Overture, just to take another example at random, is pure chicken.
Must go, I can hear the nurse calling.
Tommo |
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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ahh
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« Reply #2166 on: 01:18:01, 06-06-2008 » |
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stop following me!
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insert favoured witticism here
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increpatio
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« Reply #2167 on: 01:57:08, 06-06-2008 » |
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increpatio
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« Reply #2168 on: 02:00:23, 06-06-2008 » |
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we must infer that he also felt the movement should not be a 'quick' one, but should flow gently and expressively. Where's the facile thread recontextualization thread when you need it, eh?! |
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George Garnett
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« Reply #2169 on: 07:37:11, 06-06-2008 » |
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Omigod, Tommo (Reply 2165). Was that really me?  No wonder I can clear a room at a party just by sidling in quietly and standing at the back. In my defence I would like to point out (a) that the thesis is true; I challenge anyone to find a counter-example (b) that it made complete and sober sense when read in the context of the erudite discussion of which it was part and (c) that, like everyone else, I am a hapless product of the social, political, economic and cultural framework in which I was born and therefore cannot be held responsible for anything I say or do. Oink, oink, oinkety, squawk ... Oink, oink, oinkety, squawk ... Squawk, Squawk, SQUAWK. |
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« Last Edit: 09:12:31, 06-06-2008 by George Garnett »
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martle
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« Reply #2170 on: 09:31:56, 06-06-2008 » |
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I've long held to the theory, revealed here in public for the first time, that all classical music divides broadly into two categories: that which is written to be performed by pigs, and that written for chickens. Everything, you will find, falls into one category or the other.
For example, to take one of the Beethoven symphonies at random, the opening movement is clearly in pig:
Oink oink oink oiiiiink
Oink oink oink oiiiiink
while the finale opens with a magnificent passage in chicken:
Pwaark!, pwaark!, pwaark!!
pwk pwk pwk pwk pwk pwerk
Once you have realised this, musical analysis becomes so much simpler. The William Tell Overture, just to take another example at random, is pure chicken.
My goodness, Tommo! It's fascinating to observe the unformed and yet immanent brilliance of the young Garnett mind, grasping its way towards the perspicacity and insight with which we are now so familiar! All the signs are there, even in those early days. |
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Green. Always green.
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Ian Pace
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« Reply #2171 on: 09:45:34, 06-06-2008 » |
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like everyone else, I am a hapless product of the social, political, economic and cultural framework in which I was born and therefore cannot be held responsible for anything I say or do. Officer Krupke shakes head |
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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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Morticia
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« Reply #2172 on: 09:46:05, 06-06-2008 » |
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The capon was a countertenor. It was strangely moving. I suppose being free-range helped.
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Ruby2
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« Reply #2173 on: 09:55:48, 06-06-2008 » |
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I really shouldn't have cut the grass so short. I can't find it now.
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"Two wrongs don't make a right. But three rights do make a left." - Rohan Candappa
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Ian Pace
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« Reply #2174 on: 10:03:01, 06-06-2008 » |
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And Tim's nuts are nicer.
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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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