Composer
Title
Album (if available)
Year
Medium
Duration
Insights that focus on one or more elements that interested you that you would like to share with the class.
Link (if available)
Example:
Glenn Branca, Carbon Monoxide, from "Ascension II: The Sequel" (2010). "Rock Band" (e. guitar, bass, drums). 4:38.
Branca presents an interesting mix of lyrical line with seeming improvisatory gestures in Carbon Monoxide. Branca typically writes very long works with little to no movement, it was interesting to hear him work with a shorter work that is just as static. There are seemingly no real sections or contrast. The individual parts are simple, and I would guess somewhat thought out, but with an element of improvisation mixed in. Like most rock bands there are small inflections that change from performance to performance and I could totally hear small things change in subsequent performances. Energetic, yet static, this piece moves without really going anywhere.
DUE: Monday morning 9 am
Charles Griffes- Three tone pictures Op. 5-the lake at evening. “piano”. 4:11.
ReplyDeleteThe piece comes from a three piece set that is rather impressionistic. In the first piece of the set, “the lake at evening”, Griffes uses a pedal point as well as a specific rhythm that compliments the pedal. As the piece progresses the pedal point seems to move around as well as it takes on different forms. The designated rhythm is still present, though, and the piece is able to retain its unity through the pulse. By having the piece resolve around different “tonics”, Griffes is able to expand his harmonic development and add coloring which compliments the desired texture.
Bela Bartok- Piano Concerto No. 2 (movement 3). 6:10.
Similar to the majority of Bartok’s pieces, this concerto is very rhythmic. The rhythmic/percussive elements of the piece are accompanied through the lower register of the piano. The piece is incredibly difficult through octaves and rapid melodic lines. These characteristics create a thick texture that uses bitonality and extended harmonies that add beautiful coloring to this “punchy” movement.
Oneohtrix Point Never
ReplyDeleteNassau
Replica
2011
2-channel Fixed Media
4:43
When working on this album, Daniel Lopatin (Oneohtrix Point Never) relied heavily on samples and sound processing to produce a very unique sound palette. The composer draws from unorthodox sources as well, often sampling sounds bites from 90's tv commercials, and I feel that this piece serves as a good exposition of the composers effective use of sampling. For instance, from the very begining a strange vocal loop of what sounds like perhaps a man breathing is implemented to introduce a strong rhythmic cadence that serves as a metric backdrop for the rest of Lopatin's sound material. Throughout the work, various samples are introduced to produce a dense and colorful sound scape. Indeed in implementing what sounds like a sample of a synth about a fourth of the way into the piece, Lopatin introduces a harmonic environment, an aspect of music I have found to be less prevalent in most sample-based music.
https://soundcloud.com/platform/oneohtrix-point-never-nassau
Toru Takemitsu
Equinox
1993
Guitar
4:57
Takemitsu's pieces always have the distinct characteristic of sounding modern, yet still maintaining somewhat of a sense of tonality. Although the chords and progressions are certainly non-diatoonic, this piece feels alot less harmonically disjunct that other contemporary works. Takemitsu's use of extended techniques such as artificial harmonics add to the harmonic depth, as well as add embelishment, at times causing the piece to sound like there are multiple voices.
http://www.youtube.com/watch?v=E2-JNwXcHB8
Composer: The Avalanches
ReplyDeleteTitle: Since I Left You
Album: Since I Left You
Year: 2000
Medium: DJ’ing and Sampling
Duration: 4:16
Youtube: http://www.youtube.com/watch?v=nurwPTUD3nU
The Avalanches are a group from Melbourne, Australia. Their Album Since I Left You was composed from over 3,500 samples from vinyl records. When I first heard this song in jr high it blew my mind how a group of dj’s could collaboratively make music out of nothing but samples from other peoples music. If you enjoy this track I highly encourage you to check out the whole album.
Composer: A.Dd+
Title: Can’t Come Down
Album: When Pigs Fly
Year: 2011
Medium: Dallas Hip Hop
Duration: 4:16
Youtube: http://www.youtube.com/watch?v=Q5Sjahp4uYg
A.Dd+(pronounced Aye-Dee-Dee) are a rap duo from my hometown of Dallas. The song Can’t Come Down is one of my favorites they’ve released. I like how DD tells a story on this track, it’s kind of similar to how BIG used to write. The Beat for this song is sampled from Yael Naim’s cover of the great Britney Spears track Toxic. I’ve provided a link to that cover for all you Britney fans out there (don’t be ashamed, she rules)
Youtube: http://www.youtube.com/watch?v=ETh0Kfxk2BY
Composer:Toru Takemitsu.
ReplyDeleteTitle :Equinox
year:1993
guitar
5.21
The melody flow does not have strong leading. It sounds very light, simple. The using extended techniques support the relaxing sound of piece. Even the fact that composer used the typical for classical guitar ascending/descending movements has unique, fresh sound.
Composer:Avalanches
Since I left you.
year:2000
medium:DJ'ing and SAMPLING.
The using tape makes the piece sound real.The repetition makes keep listening the piece . When sound is over, it lefts impression the piece has not finished yet.