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What are you listening to? Part III

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bondr006 said:
This is what my wife and I danced to back in the late 80's when we met....


....

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I actually muted Monday Night Football to listen to these two tracks again. Haven't heard "Boogie Oogie Oogie" in decades (and you meant late '70s, not '80s, right?) That clav player is killer!
Was a fan of Chic too (while being an anti-disco ISU freshman back then) because this was the emergence of the greatest rhythm guitarist of All Time, Nile Rodgers! He's been active ever since, lending his rhythm magic to Bowie, Bryan Ferry, Daft Punk, Duran Duran, Madonna, sooo many others!
Thanks for the memory tweak!
 
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BotchQue said:
I actually muted Monday Night Football to listen to these two tracks again. Haven't heard "Boogie Oogie Oogie" in decades (and you meant late '70s, not '80s, right?) That clav player is killer!
Was a fan of Chic too (while being an anti-disco ISU freshman back then) because this was the emergence of the greatest rhythm guitarist of All Time, Nile Rodgers! He's been active ever since, lending his rhythm magic to Bowie, Bryan Ferry, Daft Punk, Duran Duran, Madonna, sooo many others!
Thanks for the memory tweak!
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You are right that the tunes are from the late 70’s and early 80's, but my wife and I didn’t meet until 1988…and those were some of our favorite dance tunes.
 
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rm5 said:
Okay, y'all NEED to hear this! Again, if you don't like it, don't listen to any other similar pieces. Give Ives a chance at least once. I may be in the minority, but I absolutely love this stuff.

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I really don't know anything technical about music, other than do I like it or not. I like this. As a novice, it sounded both menacing, and uplifting. The light and the dark all at once, gentle and brutal. How you do that I have no idea!
 
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Snow4maen said:
sounded both menacing, and uplifting. The light and the dark all at once, gentle and brutal. How you do that I have no idea!
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One way composers do this is to not "finish" or resolve musical phrases in the ways listeners are expecting. Try playing something you know well—say, the beginning to Beethoven's Fifth or the intro to "Stairway to Heaven"—and hitting pause in the middle of the playback.

Something feels off, right? You know what it is, of course, in those cases because the phrases are so familiar. But other phrases, both long and short, are embedded in our brains by repeated listening to preferred styles and genres of music. So an unsettled, weird, or anxious feeling can even be created by hearing a couple of musical notes that aren't followed by the notes we are expecting.

Then, if a piece or song returns to "normal", a sense of relief, pleasure, or closure that is heightened by the return to "normality" can be produced.
 
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rm5 said:
Okay, y'all NEED to hear this! Again, if you don't like it, don't listen to any other similar pieces. Give Ives a chance at least once. I may be in the minority, but I absolutely love this stuff.
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The Concord Sonata is one of my favorite piano pieces. Look for the New Yorker article from years back describing a recording session.
 
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KaliYoni said:
One way composers do this is to not "finish" or resolve musical phrases in the ways listeners are expecting. Try playing something you know well—say, the beginning to Beethoven's Fifth or the intro to "Stairway to Heaven"—and hitting pause in the middle of the playback.

Something feels off, right? You know what it is, of course, in those cases because the phrases are so familiar. But other phrases, both long and short, are embedded in our brains by repeated listening to preferred styles and genres of music. So an unsettled, weird, or anxious feeling can even be created by hearing a couple of musical notes that aren't followed by the notes we are expecting.

Then, if a piece or song returns to "normal", a sense of relief, pleasure, or closure that is heightened by the return to "normality" can be produced.
Click to expand...
Thanks for this!
 
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