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Thread: Become Ocean

  1. #31
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    I believe a clip of Become Ocean is used in 'The Revenant'.

  2. #32
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    Quote Originally Posted by Mandryka View Post
    This is a very good example of contemporary why tonal music is rubbish, this is for addled gereatrics, not for serious sophisticated connoisseurs at the leading edge of life, like what I am.

    Contrast the wonderful Occam's Ocean -- same concept, magnificent execution

    The clip you post features an Eb maj7 chord held for three minutes. Why is this magnificent?

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  4. #33
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    ...a phenomenal representation of the waters that cover our earth, and while some people tell me when they listen that “there’s nothing going on,” you have to listen further to realize that there might be more going on in this piece than any other... So, what do you think of this piece? Do you love it like I do?
    Well, no, I don't love it. Music that drones on and on like this can be effective in film scores or in other formats where this can be inserted in small doses. But 42:13? Yikes!

    This is music for the carrousel in Logan's Run or something to be played in a Day Spa. (Although I've never been to a day spa, I imagine this is what I would hear.)

    I'm glad you enjoy this, but I don't know how many times you would have someone listen to this before the realization that there is "more going on in this piece than any other" hits them. I don't think I'd ever get there.

  5. #34
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    Quote Originally Posted by janxharris View Post
    The clip you post features an Eb maj7 chord held for three minutes. Why is this magnificent?
    On Occam Ocean, Éliane Radigue said
    “Regardless of what is being used, the essential goal is to produce and bring out the partials, the overtones, the harmonics and sub harmonics, these vibrations in the air, not only those of the string or the breath, but the intangible contents of sound. An instrument vibrating beyond the fundamental(s) generates an extraordinary richness that turns into fascination. This calls for extreme simplicity, i.e. sounds maintained between piano and mezzo forte dynamic levels, beyond which the fundamental again becomes predominant. Hence the famous law from Occam’s Razor, never overdo anything, concentrate instead on breath control, or a gentle stroke, that caress of a key or a string that is sufficient to develop and enrich this infinite universe.”

    It does not sound atonality, and what she and JL Adams are doing seem to have something in common. Of course it is fine to like one and dislike another calling it rubbish, but it is odd to present them as a tonality vs atonality case.

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  7. #35
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    .lckjs\z;olivnfs\zklv cnjh
    Last edited by Mandryka; Feb-16-2020 at 21:58.

  8. #36
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    One thing I like about the Radigue is that it reveals what was there in the sound all the time, but you may never have noticed. And it directs you clearly, she leads you gently and firmly through the music.

    A lot of music is really an exploration of the physicality of sound, from Satie through Cage and on to people like Oliveros and Frey and this later work of Radigue.

    (sorry Henry Penfold! In editing I posted it twice!)
    Last edited by Mandryka; Feb-16-2020 at 22:00.

  9. #37
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    Quote Originally Posted by Mandryka View Post
    One thing I like about the Radigue is that it reveals what was there in the sound all the time, but you may never have noticed. And it directs you clearly, she leads you gently and firmly through the music.

    A lot of music is really an exploration of the physicality of sound, from Satie through Cage and on to people like Oliveros and Frey and this later work of Radigue.

    (sorry Henry Penfold! In editing I posted it twice!)
    It reminded me somewhat of Godspeed You! Black Emperor - F# A#.

  10. #38
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    Quote Originally Posted by janxharris View Post
    It reminded me somewhat of Godspeed You! Black Emperor - F# A#.
    I can certainly see why someone would say that this is just not classical music in the same sense as a Mozart piano sonata.
    Last edited by Mandryka; Feb-17-2020 at 11:12.

  11. #39
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    Quote Originally Posted by Mandryka View Post
    In fact the series is a lot longer, you've just got a snippet there. When I rule the world I shall have my henchmen tie you to a chair and make you listen to this on loop until you agree that I am right.

    If Occam had to listen to this he would take his razor and slit his wrists.

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  13. #40
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    Quote Originally Posted by Woodduck View Post
    If Occam had to listen to this he would take his razor and slit his wrists.
    I love suicide humor.

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  15. #41
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    Quote Originally Posted by gregorx View Post
    I'm glad you enjoy this, but I don't know how many times you would have someone listen to this before the realization that there is "more going on in this piece than any other" hits them. I don't think I'd ever get there.
    Well, if you look more in depth into the piece, you will find that this piece is actually written for three separate orchestras, and as Ludovic Morlot puts it, “each has their own separate journey and rhythm.” This is implying that there are basically three groups doing their own thing together during the course of 42 minutes.

  16. #42
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    Quote Originally Posted by Woodduck View Post
    If Occam had to listen to this he would take his razor and slit his wrists.
    I felt guilty that I laughed at this...I guess composers such as Radigue have to respect all opinions...good and not so good.

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