"Contemporary" music

Frank wrote:

I've read through some of the backlogs, I see you guys have been going at it with the posts.

In the meantime, I want to thank those who gave me feedback on the listening; I was sorry not to have read that from the creator of the topic, good Vitrus … did I somehow miss it?

to me....it seems like the composer was inspired by Pink Floyd (did I just swear?)...then a boredom...that is deadly :D

Is it possible that the composer actually wanted to convey that exact type of boredom? Because, technique aside, they surely wanted to convey something.

Maybe useful

http://books.google.it/books?id=THMK6lan0A0C&pg=PA182&lpg=PA182&dq=Pink+Floyd+Harvey+mortuos+plango+vivos+voco&source=bl&ots=hBwSvQK093&sig=mGoNy4plrzReNAfLjTGI58CBzkM&hl=it&sa=X&ei=W9rHT6SzBun44QTbkbC2Dg&sqi=2&ved=0CFQQ6AEwAg#v=onepage&q=Pink%20Floyd%20Harvey%20mortuos%20plango%20vivos%20voco&f=false

Ettore wrote:

Maybe useful

http://books.google....%20voco%26f=false

it would seem that a commonality between Harvey and Pink Floyd lies in the field of electronic music, in which the rock group is among the pioneers of the musical genre... could there be something else? It would be intriguing

Thanks for your opinion Vitrus; however, this part of your post is interesting

Vitrus wrote:

to me....it seems that the composer was inspired by Pink Floyd

Interesting because we all try to relate what we hear to something familiar to our ears, which is itself made up of listening experiences, a rudimentary process for searching for a composer's "influences."

Your sentence says a lot about you and I imagine why you cited Pink Floyd; I still have a few vinyl records

That being said, I would have said Stockhausen (despite my Rock listening which even made me give him a thought); everyone knows he had no students but let's say "adepts," "followers" (?); Harvey is one of them and Stockhausen's influence can really be felt and you can find it in the sound of the bells, the use of the infant's voice (I don't know why, but I seem to remember that, among other things, it was his son's voice, though I'm not sure... who knows why I remember it that way), etc.

Unlike S., H. uses a very traditional theme

Vitrus wrote:

It's not that the composer wanted to convey exactly

... exactly ... since it is a requiem, so ...

That being said and returning to influences, musicology also deals with this... I don't think it is plausible nowadays to suppose influences based solely on our ears (which is always good that they are working), only on sensations, or on one's own listening background... because it is insufficient.

In the specific case, if Harvey and Pink Floyd used bells, they might both have the same "debt"

Who establishes this? This is interesting, but certainly Harvey came into contact with Stockhausen's music... consider that in 1960 ordinary people were listening to Michelle, and instead, what was art music doing?

I think that pop music immediately understood the potential of electronic music (see The Beatles, and I am not just referring to the experimental collaborations with Cathy Berberian) and astutely followed the developments of this branch of music... something that often, on average, does not happen among many industry professionals.

Frank wrote:

... precisely ... that it is a requiem, for which ...

That being said and returning to influences, musicology also deals with this... I don't think it is plausible nowadays to suppose influences based only on our ear (which is always good to keep working), only on sensations, or on one's own listening background ... because it is insufficient.

In the specific case, if Harvey and Pink Floyd used bells, they might both have the same "debt"

Who establishes this? This is interesting, but Harvey certainly came into contact with Stockhausen's music ... consider that in 1960 ordinary people were listening to Michelle, and instead, what was art music doing?

Thank you Frank for your exhaustive and precise contribution

a for me, for example, Mozart's Requiem is not boring..... perhaps because it isn't contemporary?

In effect, my listening background has reached a point where I can well digest Brahms, Ravel... Bartok to be clear.... going beyond that, I do not feel pleasure in listening to the proposed pieces

To me they seem like compositions intended to impress the listener through sounds that are, in my opinion, truly disconnected and dissonant.. the exact opposite of classical music, which is why I cannot define it as music. I will try to listen to Stockhausen

thnx

Vitrus wrote:

for me, for example, Mozart's Requiem is not boring..... perhaps because it isn't contemporary?

I would have understood you better if you had written about Bach's Mass in B minor... I think you picked the only work where one truly gets very bored in several parts.

A recent composition graduate would be able to write a better orchestration, at least for the fact that they would have the opportunity to study Mozart's true orchestrations and apply them.

... if you really wanted to cite a Requiem... maybe Verdi

Anyway, I understood what you perhaps meant to imply; of course, citing a boring work does not add value to the cause ... but...

Vitrus wrote:

In fact, my listening repertoire has reached the point where I can digest Brahms, Ravel... Bartok, to be precise.... going beyond that, I do not feel pleasure in listening to the proposed pieces

... excuse me, do you go to the "cinema"?

... Jazz?

Vitrus wrote:

A to me they seem like compositions intended to impress the listener through sounds that are, in my opinion, truly disconnected and dissonant.. the exact opposite of classical music; that is why I cannot define it as music

Look, Music is all played on the alternation of consonances and dissonances (do we want to look at a 2-voice invention by Bach?) ... are you trying to tell me that Bartok's sonata for 2 pianos and percussion is just consonant?

It would be nice to talk instead about the "(dis)connected"... even the term itself presumes a reasoning, such that it is acquired. Whether it be tonal, microtonal, etc.

Vitrus wrote:

I will try listening to Stockhausen

You can find one of his very first mixed works posted here

http://www.pianoconc...nz-stockhausen/

...there is some connection to S. and H."

Frank wrote:

One of the very first mixed works can be found posted here

http://www.pianoconc...nz-stockhausen/

...some connection between S. and H. there is

Yes...the boredom....deadly :D

Vitrus wrote:

Yes... the boredom.... deadly

Who knows if they were even bored at Auschwitz

anyway ... it seems like the cross of requiems, after this we'll put a stone (tombstone) over it ...

Frank wrote:

You can find one of the very first mixed works posted here

http://www.pianoconc...nz-stockhausen/

Among other things, one of the most representative works by Karlheinz Stockhausen... what can I say. Impressive, truly. I was so involved in listening that while it was playing, I was playing Tetris on the computer. I know, I am an insensitive ignoramus and I lack the necessary qualities (I say this to preempt "certain people," since one can only say that 20th-century music is beautiful, genius, super cool, attractive, and that if you don't like it, you're an idiot...). And consider that I have even played Stockhausen and I liked it (tactile pleasure, I admit). Sorry, I went in quite bluntly, but please don't hold it against me... I just had to tell you.

Well, Carlos ... this is experimental music in a completely new field, even S. knew that.

... in my opinion, it should be compared to the first attempts of primitive men. Think of a tribal dance of only percussion (homemade)

Anyway

>Besides, one of Karlheinz Stockhausen's most representative works

No, it is the first mixed one: electronic + traditional instruments and in relation to the events of the second world war ... perhaps ideologically representative.

Dino wrote:

Anyway

>Besides, one of the most representative works of Karlheinz Stockhausen

No, it is the first mixed one: electronic + traditional instruments

You're right... I wonder why I confused it with Licht (which has nothing to do with it), of which I heard Montag live (and, if I'm not mistaken, in its Italian premiere) in 1989 or '90.

http://www.radioaust...ssy-riot/995150

A me sembra bellissima

I have just posted an interview with Fedele, useful for anyone wishing to delve deeper into the subject or certain aesthetics

http://www.pianoconcerto.it/forum/index.php?/topic/1507-biennale-musica-2012-ivan-fedele-intervista/