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perfect wagnerite
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« Reply #2760 on: 11:02:51, 21-03-2008 » |
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Have just had a "turn that bloody racket down" moment with my daughter. Execpt she was playing - Karl Jenkins  Teenagers today, eh? |
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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richard barrett
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« Reply #2761 on: 11:05:11, 21-03-2008 » |
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Have just had a "turn that bloody racket down" moment with my daughter. Execpt she was playing - Karl Jenkins Teenagers today, eh? I blame the parents. |
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marbleflugel
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« Reply #2762 on: 11:07:58, 21-03-2008 » |
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 not to mention notorious shock-jock Henry Kelly (I wish I had'nt)
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« Last Edit: 11:10:14, 21-03-2008 by marbleflugel »
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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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Ian Pace
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« Reply #2763 on: 11:26:15, 21-03-2008 » |
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Have just had a "turn that bloody racket down" moment with my daughter. Execpt she was playing - Karl Jenkins Teenagers today, eh? You should force them to listen to some real music, such as Captain Beefheart, Public Image Limited or The Residents. But I can see what a fine parent you are, having your kids' best interests at heart. |
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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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Milly Jones
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« Reply #2764 on: 11:26:38, 21-03-2008 » |
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Have just received this email again - it keeps coming round - but here it is in case anybody hasn't seen it and needs cheering up on this bitterly cold, grey, Good Friday morning. There was a shower of freezing sleet here just now.....
These are from a book called Disorder in the American Courts, and are things people actually said in court, word for word, taken down and now published by court reporters who had the torment of staying calm while these exchanges were actually taking place.
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ATTORNEY: Are you sexually active? WITNESS:
WITNESS: No, I just lie there.
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ATTORNEY: What gear were you in at the moment of the impact?
WITNESS: Gucci sweats and Reeboks.
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ATTORNEY: This myasthenia gravis, does it affect your memory at all?
WITNESS: Yes.
ATTORNEY: And in what ways does it affect your memory?
WITNESS: I forget.
ATTORNEY: You forget? Can you give us an example of something you forgot?
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ATTORNEY: What was the first thing your husband said to you that morning?
WITNESS: He said, 'Where am I, Cathy?'
ATTORNEY: And why did that upset you?
WITNESS: My name is Susan!
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ATTORNEY: Do you know if your daughter has ever been involved in voodoo?
WITNESS: We both do.
ATTORNEY: Voodoo?
WITNESS: We do.
ATTORNEY: You do?
WITNESS: Yes, voodoo.
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ATTORNEY: Now doctor, isn't it true that when a person dies in his sleep, he doesn't know about it until the next morning?
WITNESS: Did you actually pass the bar exam?
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ATTORNEY: The youngest son, the twenty-one-year-old, how old is he?
WITNESS: Uh, he's twenty-one.
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ATTORNEY: Were you present when your picture was taken?
WITNESS: Are you shitt'in me?
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ATTORNEY: So the date of conception (of the baby) was August 8th?
WITNESS: Yes.
ATTORNEY: And what were you doing at that time?
WITNESS: Uh.... I was gett'in laid!
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ATTORNEY: She had three children, right?
WITNESS: Yes.
ATTORNEY: How many were boys?
WITNESS: None.
ATTORNEY: Were there any girls?
WITNESS: Are you kidding? Your Honor, I think I need a different attorney. Can I get a new attorney?
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ATTORNEY: How was your first marriage terminated?
WITNESS: By death.
ATTORNEY: And by whose death was it terminated?
WITNESS: Now whose death do you suppose terminated it?
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ATTORNEY: Can you describe the individual?
WITNESS: He was about medium height and had a beard.
ATTORNEY: Was this a male or a female?
WITNESS: Guess.
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ATTORNEY: Is your appearance here this morning pursuant to a deposition notice which I sent to your attorney?
WITNESS: No, this is how I dress when I go to work.
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ATTORNEY: Doctor, how many of your autopsies have you performed on dead people?
WITNESS: All my autopsies are performed on dead people. Would you like to rephrase that?
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ATTORNEY: ALL your responses MUST be oral, OK? What school did you go to?
WITNESS: Oral.
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ATTORNEY: Do you recall the time that you examined the body?
WITNESS: The autopsy started around 8:30 p.m.
ATTORNEY: And Mr. Denton was dead at the time?
WITNESS: No, he was sitting on the table wondering why I was doing an autopsy on him!
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ATTORNEY: Are you qualified to give a urine sample?
WITNESS: Huh....are you qualified to ask that question?
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ATTORNEY: Doctor, before you performed the autopsy, did you check for a pulse?
WITNESS: No.
ATTORNEY: Did you check for blood pressure?
WITNESS: No.
ATTORNEY: Did you check for breathing?
WITNESS: No.
ATTORNEY: So, then it is possible that the patient w as alive when you began the autopsy?
WITNESS: No.
ATTORNEY: How can you be so sure, Doctor?
WITNESS: Because his brain was sitting on my desk in a jar.
ATTORNEY: I see, but could the patient have still been alive, nevertheless?
WITNESS: Yes, it is possible that he could have been alive and practicing law .
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We pass this way but once. This is not a rehearsal!
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Ian Pace
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« Reply #2765 on: 11:29:39, 21-03-2008 » |
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Schoenberg's last words init.
What were? harmonyharmony ? Despairing that he was rather late in realising what his music lacked? Are you at all aware, John, that Schoenberg was the author of two of the primary 20th century treatises on harmony (one of which at least takes a relatively conservative viewpoint)? |
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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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increpatio
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« Reply #2766 on: 11:47:05, 21-03-2008 » |
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Which reminds me; I've been sleeping beside two volumes of Hindemith for the past several months: I started on one but found the preface to read much more conservatively than Schoenberg's in terms of its flavour, to the extent that I wasn't at all inclined to continue. Think I'll give the first one a browse this morning while my stew's reheating.
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Turfan Fragment
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« Reply #2767 on: 14:21:32, 21-03-2008 » |
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Why do you have such a silly name anyway? Shall I change mine to DiscordDiscord
"Cheers"
Only if you want to become my evil twin. 'Snot a silly name anyway. [sulk] Schoenberg's last words init. [/sulk], I hope. It wasn't meant that way, but only in fun. But you knew that. |
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Kittybriton
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« Reply #2768 on: 14:28:11, 21-03-2008 » |
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Schoenberg's last words init.
What were? harmonyharmony ? Despairing that he was rather late in realising what his music lacked? His last words are supposed to have been 'Harmony! Harmony!' I'm sorry to say this but your final comment really just shows how little you really understand about Schoenberg's music and suggests that you haven't heard that much of it. If anything, Schoenberg was obsessed by harmony throughout his career even (or I was going to say especially) during his atonal and serial periods. Of course he could have been invoking Charles Ives' wife...  X 2 |
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« Last Edit: 14:31:32, 21-03-2008 by Kittybriton »
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Click me -> About meor me -> my handmade storeNo, I'm not a complete idiot. I'm only a halfwit. In fact I'm actually a catfish. |
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richard barrett
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« Reply #2769 on: 15:29:38, 21-03-2008 » |
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Which reminds me; I've been sleeping beside two volumes of Hindemith for the past several months: I started on one but found the preface to read much more conservatively than Schoenberg's in terms of its flavour, to the extent that I wasn't at all inclined to continue. Think I'll give the first one a browse this morning while my stew's reheating.
Hindemith is quite interesting on some points of harmony, although one of the main problems his later music suffers from is a too-strict adherence to the "principles" he'd extrapolated from his own earlier work. |
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increpatio
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« Reply #2770 on: 15:42:27, 21-03-2008 » |
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Hindemith is quite interesting on some points of harmony, although one of the main problems his later music suffers from is a too-strict adherence to the "principles" he'd extrapolated from his own earlier work.
Could you give an example of a work you think suffers particularly in this respect? (I've heard this view, but not heard any music that sounds like it would be the subject of such a view). |
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richard barrett
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« Reply #2771 on: 15:59:25, 21-03-2008 » |
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Hindemith is quite interesting on some points of harmony, although one of the main problems his later music suffers from is a too-strict adherence to the "principles" he'd extrapolated from his own earlier work.
Could you give an example of a work you think suffers particularly in this respect? (I've heard this view, but not heard any music that sounds like it would be the subject of such a view). Yes. I was comparing the earlier work like the Kammermusik series, one-act operas like Sancta Susanna and so on, with later and to my mind infinitely more bland pieces like the Nobilissima Visione ballet and many of the later piano-accompanied sonatas. The turn to harmonically smoother and more "logical" qualities comes around the time of the opera Mathis der Maler (1935). |
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Antheil
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« Reply #2772 on: 16:05:17, 21-03-2008 » |
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I have decided to go to Church, for the Liturgy, Veneration of The Cross and The Reproaches.
I may be gone some time
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Turfan Fragment
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« Reply #2773 on: 16:29:40, 21-03-2008 » |
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Hindemith is quite interesting on some points of harmony, although one of the main problems his later music suffers from is a too-strict adherence to the "principles" he'd extrapolated from his own earlier work.
Could you give an example of a work you think suffers particularly in this respect? (I've heard this view, but not heard any music that sounds like it would be the subject of such a view). Yes. I was comparing the earlier work like the Kammermusik series, one-act operas like Sancta Susanna and so on, with later and to my mind infinitely more bland pieces like the Nobilissima Visione ballet and many of the later piano-accompanied sonatas. The turn to harmonically smoother and more "logical" qualities comes around the time of the opera Mathis der Maler (1935). Well, this is a function of the harmonic 'system' itself being so deterministic that an insufficient understanding of it leads to bland results. When he did have the thing down pat (which wasn't at the end, but rather occasionally throughout the use of it, the results are sometimes quite moving. I don't include the Ludus Tonalis, which is the very epitome of quirky, but the Whitman-based Requiem for Those We Love "When Lilacs Last in the Dooryard Bloom'd", I would say, errr.. roolz. |
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marbleflugel
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« Reply #2774 on: 19:13:35, 21-03-2008 » |
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Yes, that's a beautiful score I'd forgotten, Turfers-why isnt it done more often? V interesting points, Richard. I quite like the illustration sof his own technique as I remember them, but as you say he took the rigour a bit too far. Having cantered through the trombone sonata way back when , I well remember the expression on the pianists' face looking at the first 5 pages of mainly ostinato rapid block chords.
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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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