alocispepraluger102

that threadgill stuff is as fine as music gets.

is there much chance that cecil, henry, and pheeroan might record?

wouldnt a nice 'miss lady' be awesome? http://www.mdcivilrights.org/shank/DSC_0497.JPG

not aloc. just in his soul!

not as far as i can tell.

http://www.columbia.edu/cu/wkcr/

jack daniel's single barrel.

Seems like Mr. Keillor is a bit out of touch with the *new* music of today...there's a lot of contemporary composers influenced by the minimalism of Glass, Reich, Feldman and others. I'd hardly think of Schoenberg as mainstream...influential, certainly. Contemporaries of Cage like Harry Partch and fellow Schoenberg student Lou Harrison had more than a bit of an impact on the new music of today. Feldman is no minimalist, either in terms of his own practice or in terms of IMO meaningful influence on the people who commonly are given that label.

it obviously has been cut to hell.

Monday, January 14, 2008 The atonal century 1n 1908, after being lambasted in the press and cuckolded by his wife, Arnold Schoenberg reinvented classical music. We're still trying to figure out what comes next John Keillor, National Post Published: Monday, January 14, 2008 This year marks the centenary of monosodium glutamate, drip coffee makers, the FBI and -- most importantly -- atonality as we know it. In 1908, Viennese composer Arnold Schoenberg led the classical tradition away from its audience, changing the world with music not in any key and of no commercial value. He put music before audiences, both literally and figuratively, and in doing so created some of Western culture's best music while gutting classical's contemporary significance. Schoenberg started writing compositions as a child in the 1880s, studying Bach and Mozart passionately. And though none of his family was artistic, his music began demonstrating genius, soon blending the sounds of those romantic antipodes, Brahms and Wagner. In the late 19th century, European opinion was primarily divided between these two composers. Brahms was a supposed reactionary who nonetheless wrote the first pieces that were completely thematic, wherein every bit of the score was related to the main melody. Wagner's blatantly progressive, extended tonalities seemed too delicate to support Brahms' tight melodic weaves. Nonetheless, Schoenberg put them together in his 1899 Transfigured Night, when he was just 25. It wasn't merely beautiful, sophisticated music; this half-hour string sextet was wise and heart-wrenching, on par with the best of Mahler or Richard Strauss. Schoenberg didn't just want to entertain; he was a culture warrior who said things like, "I have discovered a technique that will guarantee German music's supremacy for the next thousand years." At the turn of the century, most serious artists in Vienna were confronting psychoanalysis by looking inward. Painters were on the front lines of new ideas back then, and Schoenberg was active in this art as well. He and cutting-edge younger Viennese visual artists like Egon Shiele and Oskar Kokoschka were interested in the bald psychological stresses hinted at on the canvases of Klimt, Paul Klee and Wassily Kandinsky. Bodies and landscapes could now be legitimately, hideously rendered if the artist was revealing truth, the same way clenched hands betray the lie behind a smile. This style was dubbed expressionism, pulling the romantic pose inside out. Schoenberg's view of musical history allowed for a similar inversion. It ran something like this: from Mozart to Mahler, classical music became more and more dissonant, with more chromatic (or "wrong") notes in it, so that it was more indirect overall with each generation. The handling of chromatic notes was critical to a composer's unique sound. Schoenberg concluded that since wrong notes were coming more and more into the foreground of compositions, that they were music's progressive impetus. But the public was uninterested in difficult music. Schoenberg barely supported his family as a conductor. Critics were childishly toxic, writing clever cruelties like "Transfigured Night sounds similar to Tristan and Isolde if the ink were smeared across Wagner's score." By today's standards, these dissonances are no more offensive than one of Danny Elfman's soundtracks. Today, Schoenberg's genius (if not his saleability) is questionable only to insincere people, though Schoenberg himself had doubts. He said that God was telling him to say something new, but that his mortal ears couldn't absorb God's message. So instead of being pleased with having a few bona fide masterpieces under his belt, Schoenberg was often depressed, complaining that his music was derivative of the human condition, rather than accurately recording what God was telling him to say. This artistic quandary, both aesthetic and moral, didn't exist before Schoenberg. He wasn't a showman or an opportunist like Beethoven, who used his influence to sway court judges, or to charge fans money to watch him eat in restaurants. Schoenberg was the sort of guy who publicly affirmed his Judaism the day Hitler assumed the Chancellorship. The composer even travelled to Berlin just to do that. His absolute courage and sincerity extended to all things. But what seems to have pushed his imagination over tonality's edge was more personal and tangible. In the summer of 1908, while writing a song cycle titled The Book of the Hanging Garden, Schoenberg was vacationing in Grunden with his family. During this time, his wife Matilde left her husband to live with his painting instructor, Richard Gerstl. During the months his wife was absent, Schoenberg completed the song cycle with the last two numbers lacking any final cadence or primary chord. He suspended the traditional resolutions in his music, reflecting the upheaval in his marriage. His students made regular contact with Matilde until she was convinced to return. She eventually conceded that autumn. Gerstl burned all his paintings and then fatally stabbed himself. The next piece Schoenberg completed, in time for Christmas, was his second string quartet. It was dedicated to his wife, and the tonal centre was again undetectable in the final movements. In its place was a soprano soloist singing a Stefan George poem that begins "I feel the air of other planets." Schoenberg believed that he was closer to God's message now, and he never went back to tonality. His conviction influenced generations of composers who felt that a return to tuneful tonality was a backward tendency, fascistic even. A century of avant-garde music was thus born. Academics and connoisseurs really appreciated the results, though the general public assumed a thousand years of music just stopped being made. The closest thing we have to a recent mainstream compositional hero was the grinning deconstructionist John Cage, who was, incidentally, also Schoenberg's student. The performance arm of classical has successfully kept the tradition breathing, but its pendulum remains stuck to the populist end of the artistic spectrum. Now we just keep playing the old favourites while, hopefully, new composers figure something out. Copyright © 2007 CanWest Interactive, a division of CanWest MediaWorks Publications, Inc.. All rights reserved.

...and the classical links are excellent as well

fine shows are the norm for the ghost, but he has exceeded his own lofty standards with this one :rolleyes: :rolleyes: :rolleyes: :rolleyes: :rolleyes: :rolleyes: :rolleyes: . the ghost is as sensitive to this subject matter as a 75 year old man. bravo, ghostly one!

listening to peggy now. thanks.

http://www.multilingualbooks.com/online-ra...-classical.html

classical: http://www.multilingualbooks.com/online-ra...-classical.html jazz: http://www.multilingualbooks.com/online-ra...music-jazz.html

a big part of me loves the idea of playing on a plain

http://www.nytimes.com/aponline/business/A...agewanted=print

8 hours of jobim starting 6pm eastern. http://www.columbia.edu/cu/wkcr/

(st. louis university on one hand asserts its religious affiliation, but denies it, on the other hand, in order to obtain funding for a new arena.) Archbishop Says Majerus Should Be Disciplined By Deirdre Shesgreen and Tom Timmerman ST. LOUIS POST-DISPATCH St. Louis Archbishop Raymond Burke said this morning that St. Louis University basketball coach Rick Majerus should be disciplined over his public comments supporting abortion rights and stem cell research. Majerus made his comments at a campaign appearance for Hillary Rodham Clinton on Saturday night during an interview with KMOV (Channel 4). During an interview with the Post-Dispatch today in Washington, where Burke is attending the March for Life, he said the coach should be disciplined. "It's not possible to be a Catholic and hold those positions," Burke said. "When you take a position in a Catholic university, you don't have to embrace everything the Catholic church teaches. But you can't make statements which call into question the identity and mission of the Catholic church." The archbishop declined to offer specifics of what discipline Majerus should face. "I'm confident it (the university) will deal with the question of a public representative making declarations that are inconsistent with the Catholic faith." Majerus made his comments to the TV station at the rally at McCluer North High School. Burke declined to say if he thought Majerus should be fired, but added, "You can't have a Catholic university with one of its prominent staff making "declarations" that are in conflict with the church. A spokesman for the university, Jeff Fowler, said Majerus' comments were not related to his role at the university. "Rick's comments were his own personal view. They were made at an event he did not attend as a university representative," Fowler said. "It was his own personal visit to the rally. The comments were his, he was not speaking for the university in whatever comments he made to Channel 4." Last year, St. Louis U. celebrated a legal victory that affirmed it is not controlled by the Catholic church or by its Catholic beliefs. The Missouri Supreme Court agreed with the school in handing down a decision that the city of St. Louis did not violate state and federal constitutions by granting the university $8 million in tax increment financing for its new arena. Opponents of the $80 million arena sued the school in 2004, halting construction. The Missouri Constitution prohibits public funding to support any "...college, university, or other institution of learning controlled by any religious creed, church or sectarian denomination whatever." The debate came down to two words: "control" and "creed." Does the guiding mission of a Catholic university align with the specific system of religious faith espoused by the Catholic church? And if so, does that system of faith control the actions of the university? In a 6-1 decision, the court said SLU "is not controlled by a religious creed.

ivanovich greatly impressed me in the match with venus. such athleticism and strength and mental toughness i have seen in very few lady tennis players

http://www.cato-unbound.org/wp-print.php?p=640

1. You Can't Name Your Own Tune (7:56) 2. For Those Who Care (4:59) 3. Natal Chart (3:47) 4. Cmbeh (6:18) 5. Hey Toots! (5:13) 6. King Korn (4:43) All compositions by Barry Altschul except "Cmbeh" by Muhal Richard Abrams and "King Korn" by Carla Bley. [edit] Personnel * Sam Rivers: soprano and tenor saxophone * George Lewis: trombone * Muhal Richard Abrams: piano * Dave Holland: bass * Barry Altschul: drums

that electrified stuff late in his career really soured me on nat.