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Initial Steps In Understanding A New Piece

February 16th, 2008 | 2 Comments | Posted in beginners, classical music

One of the things I always try and emphasize to people unfamiliar with classical music is the long, long process of getting to grips with a piece. I don’t know if everybody experiences this, but for me it takes significantly longer to “understand” even just one movement of a symphony, compared to music of other genres. I really have to slog away at a piece, listening many times over, before it starts to make sense. I think it’s a combination both of the extended length, and of the subtleties and complexities of the form.

While introspecting into the appreciation of my latest classical insinuations, I’ve been trying to identify some of the stages of understanding in the acclimatization process.

One of the most important milestones is becoming familiar enough with the piece that you can routinely identify where you are in the music. That is, having a vague awareness of all the little musical episodes, and approximately which order they come in. Initially when listening through a piece there are particularly strong melodies or musical textures which I can latch on to without really knowing anything about the piece. After a few listens I start to get a feeling for the musical structures around these catches, and anticipate them. For me this is stage one of understanding a piece. It’s somewhere around this point when I’ll be able to whistle a few snippets of the melodies.

However, at this stage most of the rest of the music sounds sort of blurred. I hear the music as a string of the standout sections mentioned above, connected together by material which is confused and not very interesting. The next stage of understanding is when melodies start magically popping out of these mires, when instead of a jumble of instruments playing pleasant but pointless interconnecting bridges, these sections start to crystallize into understandable forms. Each instrument seems to pull apart from the others, and melodic strands are illuminated like dewed gossamer. I think that’s stage two.

The rest of my stages will have to wait for some more introspection.

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Hot Monday Linkage

January 21st, 2008 | 1 Comment | Posted in beginners, classical music, mahler

Tooooooo tired to type properly. It might be MLK day, but as a lowly grad student, that doesn’t exist in terms of not working. My weekend was filled with hockey games, and sake bombs, and Delta Gamma singing songs about what they would rather do than fight. To negatively cap all the fun stuff off with, today is the start of the new semester, and with utmost dismay and misery I am yet again forced to do a class at 08:40 in the morning.

However, between all of the happenings and hijinx, I managed to bookmark a couple of quality, music-based links which I shall humbly lay at your feet and/or floor. Firstly, there is Ravinia U featuring a very nicely put together introductory guide to classical music. Secondly, there is musictheory.net, which has a bunch of flash based tutorials on basic musical theory, perfect for ignorati such as myself.

PS, The Mahler is better and better.

More Thoughts on Automated Liner Notes

November 12th, 2007 | 3 Comments | Posted in beginners, classical music, liner notes, mp3, theory

A few days back I wrote a post in which I longed drastically for a form of real-time liner notes. When you play an MP3 or CD on your computer you could click a button and choose from either the standard background information you get with the CD inlay, or a much more exciting commentary on the piece which updates as the music progresses. In its most simple form it would indicate when a new theme enters, or an old theme comes back, or when the exposition ends, for example. You could also choose a more detailed “expert” version which would give a more detailed analysis of the structure of piece: keys, inversions of melodies, etc.Two things became clear after some excellent responses to the post. One is that (somewhat unsurprisingly) this has (sort of) already been thought of. Multiple times. ACD brought my attention to the (fleeting) existence of the Concert Companion, a handheld device which one was given to use during a live concert: “the Concert Companion delivers explanatory text, program notes and video images in real time with the music”. Hmmm. That sounds like a bunch of people playing on the internet during a concert. Yvonne told me that in Queensland they tried something similar but it was actually projected on the walls of the concert hall.

Neither of these sound like a particularly great idea. The idea of a non-optional thing is just horrible for a start. If there is going to be an optional thing then I don’t think it should be an alternative stream of information to the concert at hand, which is kind of hard to pull off in a live setting as you tend to be watching the performance. Another problem is that in a concert-hall setting it’s probably not going to be particularly appealing to any experience level. I would imagine that unless it is extremely well designed, a listener unfamiliar with the piece will be given too much information, too rapidly, whereas a listener who knows it well will probably find it an annoying distraction.

I think it would be far better suited to a situation in which you can listen to a piece multiple times; that is, at home. The depth-revealing kind of information which is provided by liner notes is usually most interesting and valuable to me after hearing a new piece about four or five times (so that my head has a basic conception of the melodies and how they fit together). It also seems like the kind of situation in which it would be extremely valuable to be able to replay a section or movement. When you are informed that a new melody is coming in, for example, it’d be nice to be able to replay that bit until you can see it yourself, otherwise it’s just like listening to someone else talk about how well they know the music.

ACDs second link showed me that he was thinking along similar lines after learning the horror (for him) of the dreaded Concert Companion. Over two years ago he wrote:

“And then, in an epiphanic flash, it struck me. While the Concert Companion in the concert hall is a genuine horror, there really is an appropriate and proper place for the device: in the home, keyed to a specially prepared classical music or opera CD or DVD coded in manufacture to deliver the proper signals to the Concert Companion.”

I think there is an even greater advantage now with the rise of the MP3 format and truly digital music. It would be almost trivial to write a piece of software that would display notes in sync with a particular recording of a classical concert (since each performance has different speeds you would have to adjust the timings accordingly, but that would be pretty easy. If you wanted to be really crafty you could try and do very basic sound recognition and use that to automatically adjust the timings), You could even incorporate it directly into a website with a built-in music player. There would be a little applet in which you could select a piece, and real-time information would be provided alongside it. That would be great, and not terribly hard to set up, as long as you had non-copyrighted music to use, and of course the liner notes!

I think the big advantage of mp3s and the internet is that people can independently create the liner notes for a particular piece, or individual movement, completely independently from the people who originally performed the piece. It doesn’t have to be incorporated into the CD itself and the recording company doesn’t have to write any special software. The work can be done as an add-on by enthusiasts and freely distributed on the web.. I’d love to put something like this together, and I don’t think it would be too hard given the right textual and musical resources.

Anyone want to try it?

Modern Classical for Beginners

February 25th, 2007 | No Comments | Posted in beginners, classical music

Anne Midgette, the originator of the quoteSearching for “classical music beginner’s” on Google shoves up this result somewhere on the first page (I say somewhere coz Google magically switches around the order of results depending on where you access it from) which I actually read yesterday, or two days ago, or whenever. It’s a parallel interview with several of classical critics, specifically focusing on whether classical is getting young, new listeners, or whether it always has and always will be the same old, old, crowd.

The question that the link goes to is of particular interest as it’s about what new non-classical fans, who want to start listening to classical music should start listening to. That is to say, it’s pretty much what the theme of this site is supposed to be. One response stood bang up out to me (yeah dodgy grammar there I know) from Anne Midgette:

“I’ve heard from a couple of different people who have TA’d in university music courses that the kids responded best to 20th-century music–Shostakovich, Stravinsky–and that the best modus operandi was to start from there and work backward”

Which I totally agree with, but hadn’t quite realized or accepted until I saw it there. For me the older eras, romantic and classical classical, sounded so stereotypical at first. I couldn’t get past how totally classical they sounded, all those swoops and strings and trills. It’s only after a year or two of listening to mostly 20th century pieces that I can go back and appreciate Beethoven.

In fact, I’m pretty confident in saying that most new classical listeners would be surprised that a lot of modern pieces fall under the classical genre. I’m quite sure that before I got into classical I assumed it was basically all like Beethoven and Mozart. If someone had played me one of Prokofiev’s late piano concertos, or Shostakovich’s 8th, 12th or 13th string quartets I might have become a fan much earlier.

I think I might write a permanent page giving modern pieces as a jumping board into the start of classical appreciation.