07-31-2007, 01:14 PM | #11 | |
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And I hope Adam is kidding about the inspired music ending in 1850 part. |
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07-31-2007, 02:23 PM | #12 | |
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07-31-2007, 02:31 PM | #13 |
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Are you thinking of the tritone?
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07-31-2007, 02:45 PM | #14 | |
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That's it.
Here's wikipedia on it. Quote:
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07-31-2007, 04:11 PM | #15 |
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That's interesting, because the tritone is so essential in Western classical music. It creates the tension that leads strongly back to the home key, helping to establish tonality.
You know the first two notes of the song "Maria" from West Side Story? That's a tritone. |
07-31-2007, 04:27 PM | #16 | |
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The "evil key" is considered to be F# major. The reason is that there are six sharps and the connotation in Revelations with Satan and the number 6. As a result of this superstition, most composers avoided using F# major. Then the master Beethoven took this as a challenge and composed one of his most sublime works - the Sonata in F# Major. If you want the closest thing to a legal Mormon buzz, get a fresh lemonade, close your eyes and listen to this marvelous work. The parallels between the great composers and the restoration are nothing less than magnificent (and often not understood). Bach was born around 1685 and spent his early childhood years hand copying sheet music (a common practice - the earliest sweatshops). He absorbed the underlying theoretical structures and went on to codify the present diatonical/aeolian scales used today. Bach was the father of western polyphony. I highly recommend listening to his 24 Preludes and Fugues - considered to be revolutionary. In 1756, Mozart is born. He is the Bill Gates of the 18th century. The best insight into the brain of Mozart is understood by realizing that he could sit down and write a complete symphony with 56 parts that he heard perfectly in his mind. His original scores have zero corrections and there were no drafts - the first copy was the final version. Contrast that with Beethoven who literally suffered through draft after painful draft. I cannot comprehend Mozart's skill and intelligence. Then the master, Beethoven, is born around 1770. His childhood was miraculous. Escapes from an alcoholic, abusive father in his teen years. Count Waldstein becomes his mentor and wants him to learn from Mozart. Unfortunately, Mozart passes away prematurely (a recent panel of physicians determined he died from food poisoning), yet the Count is undeterred. Acting on inspiration he arranges for Beethoven to study under Haydn, and uttered the famous quote: "from Mozart's spirit through Haydn's hands". Beethoven was pure genius - he revolutionized music theory (circle of fiifths, harmonic progressions, etc.). Beethoven benefited from the French Revolution which broke the artistocratic control over composers. He was the first to be able to sell his music on his own and reap the profits. I won't continue to bore you, but Beethoven was followed by Brahms, Debussy, Faure (listen to his Requiem!) and many others. Schoenberg was not a musical genius. He was envious of the late 19th century influence exerted by the French composers and Paris becoming the music capital. I challenge you to find a pleasing composition using Schoenberg's 12 tone theory. If you really want dissonance, try the Schoenberg modified 12 tone format which requires using 144 combinations. Toughest musical assignment I ever had was trying to compose a piece using the modified 12 tone format. It is now largely discredited. I apologize for rambling, but classical music is such an important element of our culture. I believe it represents a direct connection with the divine. Can we get a separate forum? |
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07-31-2007, 04:28 PM | #17 | |
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I'm also showing my complete ignorance, but what is a hexachord. I suppose I may have known, but right now, it's all Thai to me.
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08-03-2007, 02:50 AM | #18 | |
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Compositions using the 12 tone row and serialism are usually only pleasing from an intellectual standpoint. There is one by Milton Babbit called "Philomel" that connected with me emotionally. |
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