Multitasking
It's 2 in the morning and I can't sleep, so I must blog.
When L'afro mentioned multitasking within music, it got me to thinking of all my favorite pieces and what exactly is happening at those points of music when all is forgotten about by the sheer joy of listening to music. With most pieces I listen to, to me, it's all picked at and eaten apart by my mind. Separating parts, intonation, mistakes, form, etc. When pieces multitask, as L'afro was calling it, that's when I can no longer comprehend it all and just enjoy it. In Advanced Theory, when we're going over a piece by Bizet, I so wish I could remember the piece. It had two separate melodies that were rather simple and well done, and as the piece reaches it's climax it combines both themes with just massive orchestration. It's just raw power coming through. None of it was changed. The exact same melody and harmony, put over top of each other without regard to the other. And it worked well. I wish I had that piece. Mahler's 1rst Syphony, at the climax of the first movement, bitonality(actually I don't think it's true bitonality, but that's another topic) is introduced to the piece. The orchestra is playing one chord, while the trumpets blare out a huge sextuplet passage on a totally different chord. Marching band, we played a Del Borgo piece. At one point, the woodwinds were doing a folk melody, the brass a choral, and the tuba players doing a baseline with just power. It was bliss. Ben Folds and his ability to just unleash on a piano and provide just raw emotion into his pieces. Charles Ives, for the same reason. Have you ever heard an original recording of Charles Ives? It's absolutely amazing, you can't analyze it, it's just too much, besides that fact that it is unanalizable. To some people he probably swings too far to the left of the pendulum of emotion verses intellect within music. I could go on and on, but I'll spare you any more, plus I should try to sleep.
That's not to say that other parts aren't nice. As I have listed, one of my top four favorite songs is TMBG's Dr. Worm. My favorite part in that piece in when it's just a nice simple voice with nothing else followed by the contrasting section afterwards that adds everything. You gotta have that contrast and blend to make the piece worthwhile. With a lot of songs I hear today, the nice simple introductions are the best parts. Once they open their mouths and break their guitars out in chords, it destroys the musical aspects of what was started. Anyway, I was just enjoying listening to climaxes of songs in my head and wanted to write it down. So stupor, bliss, whatever you call it, here's to multitasking, which unfortanantly I'll probably have to do a lot tomorrow, or I guess today. Deadlines, gotta love em. Last day of actual classes here I come. Okay, now I'll try to get some sleep.
When L'afro mentioned multitasking within music, it got me to thinking of all my favorite pieces and what exactly is happening at those points of music when all is forgotten about by the sheer joy of listening to music. With most pieces I listen to, to me, it's all picked at and eaten apart by my mind. Separating parts, intonation, mistakes, form, etc. When pieces multitask, as L'afro was calling it, that's when I can no longer comprehend it all and just enjoy it. In Advanced Theory, when we're going over a piece by Bizet, I so wish I could remember the piece. It had two separate melodies that were rather simple and well done, and as the piece reaches it's climax it combines both themes with just massive orchestration. It's just raw power coming through. None of it was changed. The exact same melody and harmony, put over top of each other without regard to the other. And it worked well. I wish I had that piece. Mahler's 1rst Syphony, at the climax of the first movement, bitonality(actually I don't think it's true bitonality, but that's another topic) is introduced to the piece. The orchestra is playing one chord, while the trumpets blare out a huge sextuplet passage on a totally different chord. Marching band, we played a Del Borgo piece. At one point, the woodwinds were doing a folk melody, the brass a choral, and the tuba players doing a baseline with just power. It was bliss. Ben Folds and his ability to just unleash on a piano and provide just raw emotion into his pieces. Charles Ives, for the same reason. Have you ever heard an original recording of Charles Ives? It's absolutely amazing, you can't analyze it, it's just too much, besides that fact that it is unanalizable. To some people he probably swings too far to the left of the pendulum of emotion verses intellect within music. I could go on and on, but I'll spare you any more, plus I should try to sleep.
That's not to say that other parts aren't nice. As I have listed, one of my top four favorite songs is TMBG's Dr. Worm. My favorite part in that piece in when it's just a nice simple voice with nothing else followed by the contrasting section afterwards that adds everything. You gotta have that contrast and blend to make the piece worthwhile. With a lot of songs I hear today, the nice simple introductions are the best parts. Once they open their mouths and break their guitars out in chords, it destroys the musical aspects of what was started. Anyway, I was just enjoying listening to climaxes of songs in my head and wanted to write it down. So stupor, bliss, whatever you call it, here's to multitasking, which unfortanantly I'll probably have to do a lot tomorrow, or I guess today. Deadlines, gotta love em. Last day of actual classes here I come. Okay, now I'll try to get some sleep.
posted by Trueblat at 10:00 AM
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