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Got some of this, for morning listening, well, what can I say? It's loud, and joyous!

Screenshot 2024-10-27 at 04.08.51.png
 
^ Love this!! I transcribed some movements of "Water Music" a few months ago as an ear training exercise.

EDIT: If you choose to listen to any of Bach's choral music, may I recommend you listen to Collegium Vocale Gent recordings? Those are the best, in my opinion. Spectacular performances that are recorded extremely well.
 
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^ Love this!! I transcribed some movements of "Water Music" a few months ago as an ear training exercise.

EDIT: If you choose to listen to any of Bach's choral music, may I recommend you listen to Collegium Vocale Gent recordings? Those are the best, in my opinion. Spectacular performances that are recorded extremely well.
Thanks very much for the recommendation, I will look it up!
 
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Thanks very much for the recommendation, I will look it

^ Love this!! I transcribed some movements of "Water Music" a few months ago as an ear training exercise.

EDIT: If you choose to listen to any of Bach's choral music, may I recommend you listen to Collegium Vocale Gent recordings? Those are the best, in my opinion. Spectacular performances that are recorded extremely well.
Sorry, getting confused with the posting...apologies....

Well, I've got this so far, I think for now it will do, I'll give it a listen when this Handel has finished..

Screenshot 2024-10-27 at 04.59.18.png
 
Listening to Phillip Glass - "Music in Twelve Parts." It occurs to me that it might be called that for one of three reasons (or all three):
  1. First movement is, according to my research, written with 12 angles of counterpoint
  2. There are twelve movements
  3. The last movement is a twelve-tone row
Never thought of the title before, this is actually very fascinating! Anyway, would highly suggest listening to the entire performance!
 
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Listening to Phillip Glass - "Music in Twelve Parts." It occurs to me that it might be called that for one of three reasons (or all three):
  1. First movement is, according to my research, written with 12 angles of counterpoint
  2. There are twelve movements
  3. The last movement is a twelve-tone row
Never thought of the title before, this is actually very fascinating! Anyway, would highly suggest listening to the entire performance!
Some of his music is almost addictively compelling.
 
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Actually, I gotta tell yall a story about when I first heard "Music for Airports." I was in second grade (7-8 years old) in an acting class. We did an exercise where we lay still on the floor. The teacher used an old-fashioned CD player, and kept cycling through tracks (playing about 30 seconds of each one - there were like 6 or so tracks she cycled through over and over again - different genres and intensities). But "Music for Airports" particularly caught my attention. I remember it was sandwiched in between a (very weird, I remember) Latin tune and a rock song. We were all supposed to stay still and quiet, but I couldn't help speaking up and asking what it was. When I got home, I remember demanding that my parents buy the track on iTunes, which they did.

I'd say that was my first exposure to avant-garde music that I can remember.
 
Torturing myself with some new country. I mean, after listening to it for the past hour, there are some things I can appreciate about it! Syncopations and drum fills are cool.
You are a braver soul than I... I live in TN, and I'm surrounded by southern accents, so I don't really care to have someone sing to me in one. I do own some older country music and bluegrass though.
 
Fully agree! So many people pass his music off as "the same thing for 20 minutes straight," when in fact it's anything but! Even if it was the same thing for 20 minutes straight, it would still be good (Brian Eno's "Music for Airports" is a good example of that!).
As is also the case with Maurice Ravel's brilliant (and also utterly compelling) Bolero, (a piece my father loved), it is not quite "the same thing for 20 minutes straight", not least, because the melody, the actual piece of music under discussion, is not just about the melody, (which may repeat, and, in fact, usually does) but is also all about a progressive build-up - in terms of tone, key, and instrumentation - for the duration of the piece.

Thus, the end is very different to the beginning, and is usually much more powerful.
 
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An evening of listening to the music of the legendary Toma Zdrakovic; I brought four of his CDs back with me - this is really lovely music - when I returned from the Balkans a fortnight ago, and already had a selection of his best known songs that my interpreter from two years ago had given me as a gift, knowing that I had become enamoured of his music.
 
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