I think it is fairly correct to say that pop happened when the microgroove technology had reached a certain saturation by say 1958-59. TV was huge and youth culture was happening.
Anyone remebers that Honeymooners episode where they get a TV? _________________ A Charity Pantomime in aid of Paranoid Schizophrenics descended into chaos yesterday when someone shouted, "He's behind you!"
I know, but from the info that I found (didn't I send you a OGG back then?) this industry didn't focus on presenting a image of the singer.
Still this sounds like pop to me and as made for radio, or for large scale distribution at least, am I wrong ?
Yes, partly. Listen to the lyrics. This is a song, and not a modern pop song.
There weren´t any real mass distribution at the time except sheet music, but the sheet music scene was definitively to be reckoned with. _________________ A Charity Pantomime in aid of Paranoid Schizophrenics descended into chaos yesterday when someone shouted, "He's behind you!"
Different approach, same subject, love, but not so self otiented maybe.
Yes, sure, but we can't go round and stamp everything that's about love "pop".
In "ouiouimary" you'll notice the music is structurally more note-dence (or at least as dence as during verses) then the singing even while the vocalist sings and at those moment the music is also following it's own melody, not just suplying a chord as a background. That's hardly typical for pop, I think.
I suspect it originated as a marching song. That would explain the very long vocal notes in the chorus which would suit untrained voices. It would also fit with the instrumentation and obviously with the subject and the strong metrum. _________________ Kassen
Derek Bailey in his book "Improvisation" he has interviewed a bunch of different guitar players about the question "what's the difference between improvise and writing music?" Most of the musicians has responded or agreed in the fact that the difference lies in the factor Time.
Writing music can demands certain amount of time, like in chess, where you can take a month to decide what piece you gonna move, in music you can take maybe years to decide what is going to be the next note you'll write.
Or you can think very fast and improvise a song, a soundscape or a whole concert, the difference is really a matter of time.
many masterpieces of contemporary music were improvised in a very inspired moment; like King Crimson's "Starless" or many of the works of Hery Cow, big improvisers in the med 70's.
There's no guaranty to hold any method of composition as the best one since composing is the action of taking decitions: what is going to be the next note?; a sense of criteria helps to move fast in the field of improvising as well as writing but after all improvising is just "writing fast" or writing for tha very moment.
Now the magic of this is that often a good improvised piece is not allowed to be recorded, for some strange reason the fascinating moment of a good impro is not recorded so it was just a "gestalt" that never will happen again.
In my opinion, and i'm totally agreed with this thoughts but i think that if you convert your daily practice in a ritual including the procedure of setting up your studio as a center of invocation the act of improvising can be a consious trip and therefore can be perfectly recorded and studied and practiced as the composer will have the power to play that piece again.
Joined: Mar 22, 2007 Posts: 27 Location: valence france
Posted: Fri Mar 23, 2007 2:55 am Post subject:
glad to see there are some charles Ives amateurs !
Other artists/records I still enjoy listening to, include :
Late Debussy's works
"Computer Music Currents n° 13 : the historical CD of digital sound synthesis" contains really great music (crude, expressive, ironical, delicate pieces from Mathews and Pierce, and james Randall's dramatic "Mudgett, Monologues for a Mass Murderer")
Ilhan Mimaroglu and most columbia-princeton EMC's experiences during the 60's/70's.
james Tenney (his early computer noise based works especially)
henry Gwiazda's "notnotesnotrythms"
I'm currently getting more and more interested in Britten's music...
Joined: Jan 31, 2003 Posts: 17337 Location: Allentown, PA
Audio files: 107
G2 patch files: 60
Posted: Fri Mar 23, 2007 10:54 am Post subject:
I'd think with that list you'd have Shostakovitch too.
Olsen, good comments about improvisation and written composition. Probably warrants a topic of its own.
I like Blondie too. Also, Cyndi Lauper, especially Time After Time.
EDIT - changed get to good... _________________ --Howard
my music and other stuff Last edited by mosc on Fri Mar 23, 2007 4:31 pm; edited 1 time in total
Joined: Mar 22, 2007 Posts: 18 Location: SW Louisiana, US
G2 patch files: 1
Posted: Fri Mar 23, 2007 1:11 pm Post subject:
"The late David Sylvian."
Did I miss something? Did he die? I just searched for him and found nothing about his death. Wikipedia doesn't mention it. Perhapse you meant "late" as in latter part of his career. But I digress--here's my partial list:
Johnny Greenwood & Thom Yorke
Omar Rodrigez Lopez (the Mars Volta)
Steven Wilson (Porcupine Tree)
Fagen/Becker (Steely Dan)
Paul Waggoner/Tommy Rogers (Between the Buried and Me)
Oddly enough, as much as I love music in general, I don't have any particular classical composers that I'm totally stoaped about--depending on if you consider Steve Reich classical.
Posted: Fri Mar 23, 2007 3:23 pm Post subject:
Mosc piece from two years ago.
Listening the Rodheslike sounding piece you've posted more than 2 years ago make me wish of playing a rodhes.... i still can listening, what a cool thing to play, but i would lower a little bit the attack so the notes wont drop so much as bells but like a little swell. A petit swiss of a piece; i'm planing to make an album of miniatures, i mean miniatures in the sense of sweeties no lenght, this piece is more than 8 minutes long... and yours is about 5 minutes...?
Listen it , it was made 2 months ago and i was thinking of John Cage that night. there's some similarity with yours.
It was made in just one take, no overdubs; the pad that swells in the background was played as a layer of the first sound in the same take,
it is call "wood bells" the pad is called "cottonness" The pach is call "cottoncage" it was played on a QS8 Alesis, 23 seconds giga delay and recorded on Logic Express.
Yea, maybe i went too much over of a different topic when i started debating impro against writing music but i think they are fenomenas of the same nature and we are all concern about that anyway...
wow. this composer really is something else. a mixture of synthesis, orchestra, piano and choir... some of the most lush soundscapes i have ever heard. _________________ there's no I in TEAM, so let's all act as individuals instead
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