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PostPosted: Wed Jun 06, 2007 4:54 pm 
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When first i heard music of prokoviev i hated it, it was so atonal ...

Hm, if you're really into contemporary music, you will agree with me that Prokoviev was VERY much more a tonal than an atonal composer, in comparison with his contemporaries at least.


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 Post subject: dog
PostPosted: Sun Jun 10, 2007 10:55 pm 
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My dog, Paco, runs to the bedroom and under the bed whenever I sit down at the piano.


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 Post subject: Re: dog
PostPosted: Sun Aug 05, 2007 11:41 am 
John Robson wrote:
My dog, Paco, runs to the bedroom and under the bed whenever I sit down at the piano.


My bunnies love Beethoven.

They don't respond at all to anything else. I don't know what this means.


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 Post subject: Re: dog
PostPosted: Sun Aug 05, 2007 11:48 am 
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krstone wrote:
My bunnies love Beethoven.

They don't respond at all to anything else. I don't know what this means.

It means they're choosy little bubbybobs. You should expose them to Bach and Brahms to expand their horizons :)

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PostPosted: Fri Jan 04, 2008 8:16 pm 
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Yeah, I know what you mean. I am a composer and study at a conservatory and musch of the music created by my peers and professor are extremely avant garde. I am not totally conservative in my writing but I do think there has to be something memorable to a piece, something that holds it together.

I'll be honest, I can't get into the music of the second vieneese school--Schoenber, Webern, Berg--but I can appreaciate their ideas.

I have to agree with my friend, Claude Debussy, that music should be pleasurable, pleasing to the senses. Not all contemprorary music has to be avante guarde in my opinion. Yes, you should be different, but like I said, something has to hold it together.

Writing a piece of music is like preparing a dinner: You want your guests to leave feeling a little bit hungry. The worst, is whem you are listening to a new work and you are thinking "Is it over yet?" If I really don't care for a piece of new music, I will literarally get sick with a bad headache.

There are great conctempory pieces out there, you just have to keep your ears and eyes open.

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Last edited by Jennifer on Fri Jan 04, 2008 9:20 pm, edited 1 time in total.

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PostPosted: Fri Jan 04, 2008 8:18 pm 
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P.S. my two parrots do like Weber's Op. 21 becuase of the tone colors.

They are big fans of Bach and any music from the Baroque and Classical eras

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 Post subject:
PostPosted: Sat Jan 05, 2008 12:59 am 
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When it comes to me and atonal music... at first I hated all of it.

My first composer I ever got into was Rachmaninoff... then I worked backwards all the way to Buxtehude...

But when I first heard a piece by Schoenberg, I hated it immediatly. I still try to listen to him today, but I really can't stand his music.

12 Tone Theory bothers me immensily, because it is litterally just trying to be as random as possible, by making sure that you never favor any one key more than another, so you must make random jumps, abandoning all classical harmonic developmental ideals...

However, when I first an atonal work by Scriabin (the 9th sonata), I hated it. However, as I continued to listen to it, I began to love it. Now, I really enjoy Scriabin's late works, and think them to be just as wonderful to listen to as any other piece of music.

I still can't stand schoenberg, webern, etc.

I always liked Prokofiev, because my first two pieces I ever heard were his Suggestion Diabolique, op. 4, no. 4, and his Toccata in D Minor, op. 11(?). They were able to lead me in gently to his world... and I always loved it.

I would consider myself to be mildly modernist. I do love Scriabin's later works, and have ever written 2 atonal preludes in a style that I feel is similar to his, but still kinda my own thing.

However, I am truely a romantic at heart. I love Scriabin's early works the best, just like I love Rachmaninoff, Chopin, etc.

But I don't like Liszt.
He's far too flashy for my tastes.

--- My rant for the day.

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 Post subject:
PostPosted: Sat Jan 05, 2008 1:42 am 
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Prokofiev's Toccata was easy for you to listen to? :shock: He said himself about it that it was supposed to sound like "carrying 100 china plates and then dropping them all"!

Anyway... I love most atonal stuff, as long as it's written well. For example, George Crumb's "A Little Suite For Christmas" or Corigliano's Etude-Fantasy among others...

It's impossible to have a favourite composer in my opinion... but Prokofiev is as close as it comes for me. What really gets me about his music is that in some places it's so romantic, and then it just morphs into this cataclysmic mess, but you can never quite tell when it happened. The famous 2nd piano concerto is a perfect example of this (especially the 1st movement... the opening is so beautiful, and the end of the cadenza is so huge, monstrous, and ominous). I WILL learn that one day if I die trying hahaha

Anyway what bugs me is when a composer DOES write completely random noise that's not sophisticated at any level, and doesn't have any structure or purpose of any sort, and tries to convince people that it's music... (like when it's written in the score to play the same note over and over for 30 seconds... or to choose 3 random notes and play them in quick succession 5 times or something stupid) That's not music. It's just dumb...

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 Post subject:
PostPosted: Sat Jan 05, 2008 1:55 am 
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Hmmm... The toccata in d minor was actually one of the first pieces piano pieces I ever heard.

Actually... it was the third keyboard piece I've ever heard... 2nd piano piece.

I had just "discovered" that my favorite halloween music has a name: "Bach's" toccata and fugue in d minor (I don't think Bach wrote it... but that's for another thread...), and I was searching for Toccata in d minor... and I happened to find a recording of Agerich playing Prokofiev's toccata...

At first, I was mildly confused. By my second time listening to it, I loved it.

It builds up very nicely.
And I like the whole "crashing plates" thing... I don't know why.

I like heavy music in general...

Btw... the first piece, prior to the two toccatas... was Rachmaninoff's prelude in C# Minor.
It was also the first piece I ever learned how to play... And when my great-grandmother passed away, my parents suggested that my brother and I leave something in the casket to remind her of us... I chose the sheet music to that piece. That way, when ever I play it, she can remember me.

Sooo... that piece is kinda special to me... although for some reason my skills with it have atrophied after not playing it for a few months...

But I like Prokofiev.

--- RANT #2!!!

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"This is death! This is death as this emanation of the female which leads to unification ... death and love ... this is the abyss." This is not music", said [Sabaneev] to him, "this is something else..." - "This is the Mysterium," he said softly.


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 Post subject:
PostPosted: Sat Jan 05, 2008 10:58 pm 
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Quote:
demonic_advent"] But I don't like Liszt.
He's far too flashy for my tastes

:lol: I know what you mean.

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 Post subject:
PostPosted: Mon Jan 07, 2008 10:59 am 
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:evil: Liszt haters! :evil:

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 Post subject:
PostPosted: Mon Jan 07, 2008 11:07 am 
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diminished2nd wrote:
Anyway... I love most atonal stuff, as long as it's written well. For example, George Crumb's "A Little Suite For Christmas" or Corigliano's Etude-Fantasy among others...

Huh... Corigliano's Etude-Fantasy atonal ??? I find that an eminently melodious work that does not even seem particularly 'contemporary' compared to some things written hald a century earlier.

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Last edited by techneut on Mon Jan 07, 2008 11:23 am, edited 1 time in total.

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 Post subject:
PostPosted: Tue Jan 08, 2008 10:25 pm 
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Ok, I understand pianolady but why the contempory music must atonal and only atonal.
Do you Steve Reich or Gavin Bryars ?
I remember the piece of Bryars 'New York', a very good composition and magnifical harmonies and sound. I will like to listen again !

Chris

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 Post subject:
PostPosted: Tue Jan 08, 2008 10:44 pm 
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Hmmmm... I guess you're right! Not all contemporary music is atonal... ex. Shostakovich.

I really like Shostakovich!

But... unfortunately, our world has been flooded by the "music" of Brittney Spears and the like...
Sadly... that could also be considered "Contemporary music"

I suppose that there are always different methods of expression in different times, but there generally tends to be one view that tends to dominate that time, perhaps stereotypically.

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"This is death! This is death as this emanation of the female which leads to unification ... death and love ... this is the abyss." This is not music", said [Sabaneev] to him, "this is something else..." - "This is the Mysterium," he said softly.


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 Post subject:
PostPosted: Wed Jan 09, 2008 5:14 am 
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demonic_advent wrote:
But... unfortunately, our world has been flooded by the "music" of Brittney Spears and the like...
Sadly... that could also be considered "Contemporary music"

Who, I disagree with that. It's not music... this stuff files under "shit noise", or to coin my favourite phrase once more, poppy drivel. I don't want to go as far as to say that ALl popular music is bad, but the stuff you hear on MTV and TMF is low-life trash.

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 Post subject:
PostPosted: Thu Jan 10, 2008 2:34 am 
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And that's why I used quotations :D

I agree completely that most of it is "Shit noise."

However.... I also use that term for a lot of Schoenberg's works as well...

I also use it for a lot of Mahler's works too... :shock:

I'm now expecting at least a few people to jump down my throat...

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"This is death! This is death as this emanation of the female which leads to unification ... death and love ... this is the abyss." This is not music", said [Sabaneev] to him, "this is something else..." - "This is the Mysterium," he said softly.


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 Post subject: Re: contemporary music
PostPosted: Sat Feb 09, 2008 5:41 am 
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Pianolady wrote:

Quote:
Call me old fashioned or maybe even foolish, but I just can't get into some of this contemporary music. I just listened to the file submited by Avguste Antonov, titled "Handgelobnis" and I don't get it. What is so great about this kind of music? Mr. Antonov, I mean no disrespect to you at all, as you are a fine player, but I never understood how people can like this music. You can't hum along to it, or tap your foot, let alone remember it. And nobody would know if you make a mistake. It seems like cheating to me.
I know, art is in the eye of the beholder, but I'm wondering how everybody else feels about this 'modern' music.


Well,back in France, I was required to play each year two modern pieces. The "Handgelobnis" was one of them and it was actually the last modern piece I played before moving to the USA.
To be honest,I,myself didn't quite like modern music.
But then in 2001,when I joined the student body at the University of Kansas, I began to look for a repertoire not often played that would get me noticed. And I also became member of the University of Kansas Wind Symphony. Being a member of the Wind Symphony made me discover great composers such as Maslanka,Mackey,Colgrass,Pann and others.
And when I met Carter Pann in 2001/2002, that turned things for me and I really began enjoying his music and decided to give priority to modern music.
The above is quite simplistic,but I think explains enough,lol
Now,this said,I refuse to play Boulez,Stockhausen or any of the serial/atonal guys .I like melodies,I like clear writing.
All the modern composers I play have that in their music.
For an example of modern repertoire recital,check the program for my upcoming recital at http://pianosociety.com/new/phpBB2/view ... 8012#18012

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 Post subject: Re: contemporary music
PostPosted: Sat Feb 09, 2008 5:42 pm 
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avguste wrote:
Now,this said,I refuse to play Boulez,Stockhausen or any of the serial/atonal guys .I like melodies,I like clear writing.


Funny you say that. I saw Pollini play something by Boulez recently and I didn't like it, either. It dragged on for about twenty minutes - I couldn't wait for it to be over. I suppose if I could find a melody in some 'modern' music, I could maybe get into it. Hasn't happened yet, though. However, I just listened to Schoenberg for the first time yesterday and liked some of one of the movements. That's big for me. :lol:

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 Post subject:
PostPosted: Sat Feb 23, 2008 12:48 pm 
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Oh good grief.

I love how 'contemporary' music is considered. That term is so outdated it's ridiculous.

How many of these 'contemporary' composers mentioned are even alive today? How many were born in the 19th Century? I noticed that some people mentioned Reich, Glass, and Adams. Not bad, we're starting to get somewhere.

Now, I am of course biased as I'm working on a dissertation that concerns post-minimalist music, basically nothing written before 1980, but this term 'contemporary' really gets on my nerves.

It isn't exactly our fault either. I'm in a theory class that is actually called 'contemporary' music, but it only covers Schoenberg and Stravinsky. Huh. That's weird... If you want to see what's going on in music now, you've really got to do a lot of leg work yourself, which is really a tragedy.

Thoughts?


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PostPosted: Sat Feb 23, 2008 1:35 pm 
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What would you call it, then? Some fancy post-this, post-that, or neo-something? It's no secret here that I don't like whatever-you-call-it music, but the word 'contemporary' at least tells me that it is not baroque, classical, or romantic.

And by the way, you should introduce yourself to us before you post a bunch or recordings. There is not even a simple 'hi' on your posts. A bit rude, really, and scores no points with me.

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PostPosted: Sat Feb 23, 2008 2:04 pm 
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Apologies for the lack of introduction. I posted some about myself in the Audition Forum.

All I was saying is that the term contemporary is a misnomer since a lot of the music being discussed was written many decades ago. Labeling music since the turn of the 20th Century, is rather difficult since composers really began to branch out in a lot of different directions simultaneously. In teaching this music, classes I've seen typically label it all as 20th Century music, and divide as pre- and post-WWII. I just wanted to get people thinking about the term and its connotations.

My other point was how hard it is to get a hold of or learn about really recent art music. I had to go to the composers themselves in most cases for my research, as many of these pieces would be held by only one library (university or otherwise) in the US. I think that says a lot about how we as performers view music vs. those around 1900.

Personally, I get excited thinking that I could (in a very small way) help shape what music enters the standard repertoire in the coming years. By performing and teaching new music, I see myself as part of a larger dialogue, and I personally think that's pretty cool.


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PostPosted: Sat Feb 23, 2008 2:28 pm 
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I forgive you. :lol:

I think it's great to be excited about a certain kind of music. When I discover music (that I like) by a composer I didn't really know much about, I like to learn about the person and play as much of their music that I can get my hands on. So good luck in your endeavor.

I'll listen to some of your recordings soon.

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PostPosted: Sat Feb 23, 2008 4:10 pm 
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I think it's all still called "contemporary" because it hasn't really caught on yet. :lol:

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PostPosted: Sat Feb 23, 2008 4:43 pm 
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You know, Terez. In a way, you are right. I wonder what people called music back in the ealier eras.

For instance, Chopin and his contemporaries (LOL) - they didn't say that they were composing in the "Romantic" era did they? Did they know what era they were in? Or Beethoven - did he know that he was composing music that is categorized as "Classical" era? I really have no idea about this, but if this is so, then they might have called themselves "Contemporary" composers too. And the general public considered their music as being contemporary. The only difference to me is that I love most of their music and not today's contemporary music.

I get what I'm saying but probably not explaining it well. Any of that make sense?

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my videos: http://www.youtube.com/user/monicapiano
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PostPosted: Sat Feb 23, 2008 4:58 pm 
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I think the term "Romantic" was already in use by Chopin's time, though he didn't think it applied to him. He saw himself as being separate from the "romantic" style of composing, and in many ways, he was. The term "classical" wasn't used in reference to that era until the 19th century, though, and the term "baroque", being a fairly derogatory term, was definitely not used until the classical style was gaining ground. Monteverdi (early baroque) called his style "seconda prattica" as opposed to the "prima prattica" of Palestrina et al., but other than that I don't know much.

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PostPosted: Sat Feb 23, 2008 10:04 pm 
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I don't think it is that hard at all to get hold of new music scores.Just need to know people,have contacts.

By the way,how is Weirich doing?I studied with him for one year.

Quote:
Apologies for the lack of introduction. I posted some about myself in the Audition Forum.

All I was saying is that the term contemporary is a misnomer since a lot of the music being discussed was written many decades ago. Labeling music since the turn of the 20th Century, is rather difficult since composers really began to branch out in a lot of different directions simultaneously. In teaching this music, classes I've seen typically label it all as 20th Century music, and divide as pre- and post-WWII. I just wanted to get people thinking about the term and its connotations.

My other point was how hard it is to get a hold of or learn about really recent art music. I had to go to the composers themselves in most cases for my research, as many of these pieces would be held by only one library (university or otherwise) in the US. I think that says a lot about how we as performers view music vs. those around 1900.

Personally, I get excited thinking that I could (in a very small way) help shape what music enters the standard repertoire in the coming years. By performing and teaching new music, I see myself as part of a larger dialogue, and I personally think that's pretty cool.

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Avguste Antonov
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http://www.avgusteantonov.com


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 Post subject:
PostPosted: Sat Feb 23, 2008 10:20 pm 
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All the composers I refer to are alive and still composing.
Mackey is based in New York(last I checked),Bolcom and Daugherty are faculty at U. Michigan,Pann is faculty at U. of Colorado-Boulder, Meyn is faculty at Texas Christian, Murnak(who is writing a piece for me) is faculty at U. Florida

Quote:
Oh good grief.

I love how 'contemporary' music is considered. That term is so outdated it's ridiculous.

How many of these 'contemporary' composers mentioned are even alive today? How many were born in the 19th Century? I noticed that some people mentioned Reich, Glass, and Adams. Not bad, we're starting to get somewhere.

Now, I am of course biased as I'm working on a dissertation that concerns post-minimalist music, basically nothing written before 1980, but this term 'contemporary' really gets on my nerves.

It isn't exactly our fault either. I'm in a theory class that is actually called 'contemporary' music, but it only covers Schoenberg and Stravinsky. Huh. That's weird... If you want to see what's going on in music now, you've really got to do a lot of leg work yourself, which is really a tragedy.

Thoughts?

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http://www.avgusteantonov.com


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 Post subject:
PostPosted: Fri Mar 28, 2008 9:11 am 
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Hi! Do anybody have some piano sheets of pieces by Mauricio Kagel or Dieter Schnebel. It would be very appreciated :wink:


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PostPosted: Wed Apr 02, 2008 9:14 am 
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or pieces including piano by alfred schnittke...please :wink:


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