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Using music to distinguish ourselves or prove ourselves members of a special group is one of the uglier aspects of human nature, but we all do it, so I figure, why not try to be honest about it?
In the not-so-recent past, one could demonstrate one's cultural superiority very simply by listening to classical music, scorning jazz, rock and other "popular" music. A lot of people here still try that, but their pretensions are sadly out of date.
Here is the list of recommendations I've obeyed, along with the list of kind people who recommended them! This is in order. (If you want to make some recommendations, please do! I very greatly appreciate all recommendations.)
Sorabji (1892): Opus Clavicembalisticum - Ogdon 1988 - KenOC, Wood, arcaneholocaustDonizetti (1797): Lucia di Lammermoor - Sutherland 1961 Decca - ArtMusic, Wood, BasBantock (1868): Fifine at the Fair - Beecham on EMI - AH music, ShropshireMoose, Wood,
Updated Sep-02-2014 at 14:21 by science
Originally Posted by StevenOBrien
I'm pulling the following from a blog comment I wrote a while ago on another site, so forgive me if it seems a little inconsistent or dumbed down at times. It contains a whole bunch of resources and courses that are available online, as well as links to some very helpful theory books.
Yale lecture series to start you off
How to Listen to and Understand Great Music, by Robert Greenberg
Understanding the fundamentals of music, by Robert Greenberg
#1. Wagner: Der Ring des Nibelungen - Hans Hotter, Birgit Nilsson, Kirsten Flagstad, Dietrich Fischer-Dieskau, Wolfgang Windgassen; Sir Georg Solti: Vienna Philharmonic Orchestra and Vienna State Opera Chorus (Decca) 1958-1965 (http://www.arkivmusic.com/classical/...?album_id=4708)
#2. Bach: Goldberg Variations, BWV 988 - Glenn Gould (Sony) 1955 (http://www.arkivmusic.com/classical/...p?album_id=445)
Goneril's and Regan's declarations of love for their father ought to be done in the style of a treacly pop ballad, a la "My Heart Will Go On." At that moment in the play Lear should personify the people who like that kind of thing: fake sentimentality rather than genuine emotion.
The play's conflict between honesty and hope will be embodied in the music. Everything fake (or calculated to preserve the inauthenticity) in the play will be in simple musical styles: 3/4 or 4/4