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#contemporary classical
camoooh · 1 year
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"yeah no I just can't stand the stuff on the radio, it's not real music, you wouldn't even know the stuff I listen to it's so underground-"
I am begging you please go and touch some grass. It's not that deep. Who gives a shit. Headbang to screamy screamy then go do a little jig to lizzo. Fuck it, then go and freestyle yodel to some mountain folk shit. Who cares man. Just bop. You're not superior because you only listen to one genre. Let people enjoy things
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aleprouswitch · 6 months
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Philip Glass' student ID card during his time as a student at the University of Chicago, 1956.
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wildfaeworld · 8 months
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Abel Selaocoe, cellist
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iamlisteningto · 2 months
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Nils Frahm’s Day
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thesobsister · 2 months
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Kronos Quartet, "The Funky Chicken"
The leadoff cut from their debut album. Which I'd never even heard of until last Friday. Very good, to start, plus it's the first branches of the musically ecumenical tree that the Kronos crew would grow over the last 50 years.
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jgthirlwell · 2 months
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02.15.24 Jack Quartet play a composition by one of it's members, Austin Wulliman, on the eve of the release of Austin's solo album The News From Utopia. At Roulette Intermedium NYC.
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beyourselfchulanmaria · 6 months
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Listen to 回憶如風 Memories like the wind I, a playlist by chu-lan-maria on #SoundCloud
有了合適的音樂,你要麽忘記一切,要麽記住一切。 With the right music, you either forget everything or you remember everything.
該記得的或該忘記的,讓一切都任由風帶走… The one that you remember or should be forget, let everything take away by the wind. -ℒan ~*
(PS. I don't own any music and songs right, I just make the playlist for listening easily and enjoy all musicians your works and love to share it only. all copyright belongs to musician & singer. If you want me do delete yours from the playlist, please tell me then I will do it. Blessings! Thanks! Lan~*)
📌 Poland photographer Jarosław Datta
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aveblr · 4 months
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hello lovely people!
i'm excited to share my very first serious musical creation with you—a four-movement composition for string quartet, taking you on a musical rollercoaster from soothing, poised serenity, to mesmerizing uncertainty. it's been a labor of love, and i can't wait to share it with you.
music has been my constant companion, guiding me through different genres and inspiring me to explore its many facets; this project delves particularly into the classical realm. this composition is a nod to that classical influence i hold dear.
the journey to creating these pieces began during my formative years, between 15 and 17. it's been a dream of mine, and despite the hurdles and unexpected challenges, i'm thrilled to stand here today with a tangible creation. while it may not be flawless, it's a representation of my first steps in sharing my musical vision.
now, this is where you come in! i'm reaching out to you for your aid and encouragement on this project. whether you support my vision by donating, share the project to broaden its reach, or simply give it a listen, your contribution makes a world of difference!
wour support means everything. let's spread the joy of music together.
much love.
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sivavakkiyar · 5 months
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“a reminder to those who think they can destroy liberators by acts of treachery, malice, and murder. . . . Like all organizations, especially governments and religious organizations, they oppress in order to perpetuate themselves. Their methods of oppression are legion. But when they find that their more subtle methods are failing, they resort to murder. Even now in my own country, my own people, my own time, gross oppression and murder still continue.”
— EASTMAN'S INTRODUCTION TO JOAN D'ARC
[yt: Prelude]
[yt: The Holy Prescence of Joan D’Arc)
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viola-ing · 9 months
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Hi there! I'm Katie, and I am a composer.
I am working on a commissioned piece that comments on involuntary psychiatric admission, focusing on the findings of the Rosenhan Experiment.
The piece is for violin & fixed media, and I am looking for folks to record themselves reading some excerpts from the experiment's article.
If you want to record & be a part of this piece, recordings are needed by Wednesday, August 23rd.
To find more information, please visit this Google Doc: https://docs.google.com/document/d/1rSTHSKT4J3LokMf8ivaHEbBlRBj68TBG3siHb-qDHgc/edit?usp=sharing
Thank you in advance!!
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Tracklist:
Requiem: 1. Requiem • Requiem: 2. Куrie • Requiem: 3. Dies irae • Requiem: 4. Tuba mirum • Requiem: 5. Rex tremendae • Requiem: 6. Recordare • Requiem: 7. Lacrimosa • Requiem: 8. Domine Jesu • Requiem: 9. Hostias • Requiem: 10. Sanctus • Requiem: 11. Benedictus • Requiem: 12. Agnus Dei • Requiem: 13. Credo • Requiem: 14. Requiem • Three Sacred Hymns: No. 1, Hail Mary, Full of Grace • Three Sacred Hymns: No. 2, Lord Jesus Christ • Three Sacred Hymns: No. 3, The Lord’s Prayer
Spotify ♪ Youtube
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dustedmagazine · 6 months
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Morton Feldman — Violin and String Quartet (Another Timbre)
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Composed in 1985, just two years before he died of cancer in 1987, Morton Feldman’s Violin and String Quartet embodies his interests in patterns, such as the intricate, slightly asymmetrical threading of Asian rugs. Similarly, Violin and String Quartet contains off-kilter, slowly evolving harmonies, post-tonal in terms of trajectory; they are  self-contained entities that inhabit a place in which instability and repetition conjoin.
Quintets with violins are somewhat unusual. In a standard classical piece by Mozart or Schubert, one is more likely to find two violas or cellos. The group of players here — Mira Benjamin, Chihiro Ono, and Amalia Young, violins, Bridget Carey, viola, and Anton Lukoszevieze, cello — play together as if this is the most ubiquitous of instrumentations. Their level of attention to tiny details in the score, as well as their unflagging energy, make this an important document of Feldman’s late music.
The designation of one of the violins separately is significant. Sometimes the first violin will be required to play a solo role, tearing off from tutti ostinato passages to play altissimo high notes and polyrhythms —often five against four — that delineate it from the rest of the group. At others, its upper register sustained notes meld with the string quartet.
Like most of Feldman’s late music, Violin and String Quartet is quite long, well over two hours, and prevailingly slow and soft. The piece begins with verticals that are morphed by small glissandos into rubbery totems. These are contrasted by moments of glassine verticals, played with straight tone. For a stretch two-thirds of the way in, the first violin’s harmonics are set against blocks of enigmatic chords.
Without a linear narrative or break in the action, a piece of such long duration is difficult to summarize. Perhaps that is part of the point. Attention to small details and their variations is rewarded, just as a meditative stance can be a way to contemplate Feldman’s music. In a pre-concert talk about a different piece, Feldman was quoted as saying,”It’s a short three hours!” Approached with an open mind and ears, Violin and String Quartet can feel the same way.
Christian Carey
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aleprouswitch · 6 months
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“I don't know what the effective ratio would be, but I've always had some sort of intuition that for every hour you spend in the company of other human beings, you need "x" number of hours alone. Now, what "x" represents I don't really know; it might be two and seven-eighths or seven and two-eighths, but it is a substantial ratio.” 
- Glenn Gould
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hellwatermelon · 25 days
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zef-zef · 3 months
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Kara-Lis Coverdale & LXV - Territory of Subtle Entries from: Kara-Lis Coverdale & LXV - Sirens (Umor Rex, 2015)
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iamlisteningto · 30 days
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Kelly Moran’s Moves In The Field
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