/classical/

mmmmm

In one of life's great ironies, through Cage's work, we learned to hear each cough and creak in the concert hall as art, and in doing so we found those disturbances to contain more artistic value than the music for whose creation is his legacy responsible.

>Flute Edition
youtube.com/watch?v=E1E4c6wc9nM

Moar motets, post MOAR MOTETS!
youtube.com/watch?v=cxx7Stpx7bU

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>Gombert
Thanks for reminding me of this guy, he's like Josquin on steroids

youtu.be/vcYQXQwS9sQ

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>voca.ro/99gbPjj4ElN
Could anyone help me identify this piece please? I've been looking in my folders with no success, and now I'm wondering if it's even classical at all.

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>newfag namefaggot is back
we were doing so fucking well, too

I miss Hill, I wonder if he still posts here

>that time Hill tried to make a 12-tone fugue

>that time Hill auto-filtered himself from music composition class because he couldn't play for shit

Anyone know where I can find a download for recordings of Mahler by Abbado at the Lucerne Festival?

the (((unity))) is One (1) Chromatic Scale
the First Division is from One (1) to Two(2) halves (1/2)
these are the Two Whole Tone Scales, each composed of Two (2) Three(3) note Augmented(+) Triads of whom themselves are the Roots of Three(3) Four(4) note Diminished(-) chords

FOUR augmented triads
THREE diminished 7ths
TWO whole tone scales
ONE chromatic scale

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they are all on youtube if you can live with opus 160k/s

Just a couple of favs
Josquin
youtu.be/d6C8vIT7cFo

Zelenka
youtu.be/bbwTmmH2UlY (this forms part of a grand Responsories setting)

Messiaen
youtu.be/x0__tgrjTkc

Lauridsen
youtu.be/GJrXhjt7Gwo

Namefag can't you make your own thread to contain your bullshit?

You can't reason with the mentally ill. Sadly, all we can do is ignore it.

based and serialpilled

Nice!!
???

New Adès is finally out
open.spotify.com/album/53XoO2L84YzW756O6tiqOj?si=Gu63kkWQSKqZr4b-ibzaeg

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Aids with a real orchestra, but still Aids

br-klassik.de/programm/radio/ausstrahlung-2010816.html

So we have concluded from the last thread that:

1: dissonancefags distain being argued with because they are unable go punch for punch when the artistic merit of their sacred cow is challenged

2: contemporary classical really is just a retreat into exclusivity of taste wrapped in a paper thin veil of innovation and liberalism.

3: of you really want to piss them off, make use of their mortal enemies: analogies.

4: some guy who refers to everybody who disagrees with him as “Hans” (????) will show up.

shut the fuck up about you getting btfod

dissonance

youtube.com/watch?v=k5ideSGs2Pk

>Flute Edition
:something: :something: HYPERBASS youtube.com/watch?v=G4l06dv9Cy8

>”14. Claim Victory Despite Defeat”
>Shut the fuck up Shut the duck up Shut the fuck up
T. Senile old fart who forgets what happened 15 minutes ago

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Hans

youtube.com/watch?v=Vpr8sEQvXCc

I'm not even the people you were arguing with last thread. I read through it and people told you when you were being retarded over and over again. What matters is that this happened in the last thread where you brought up nothing of interest, and you are trying to start the same bullshit in this thread again because you can't handle the idea of being told you're wrong by multiple people.

Checked, honestly this piano concerto is overhyped, only the second movement is decent, hopefully his "Angel Symphony" thats going to be premier in a couple of months is on par with his great works like Asyla and Tevot

Fucking terrible. Where’s the dissonance? My ears can hardly take it. Harmony and consonance is offensive to me, I am injured by its presence. Please, post Boulez or something.

Quints have spoken, Adès is shit.

Oh my gosh I love this!

Yes, they said “you are wrong shut the fuck up”, but what else did they have to say besides that? Little else of substance. Even flat earthers enjoy a proper response and a thorough BTFO’ing.

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Hey friends what's your favorite recording of Mozart's Recordare?
youtube.com/watch?v=tbGdEDgSelA
This isn't my favorite I think it's too fast, it's just an example.

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At least a hint please?

guys, this stuff is great! You HAVE to listen to it! It’s worth it, I promise!
youtube.com/watch?v=szkUbtfNFu0

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Beethoven

youtube.com/watch?v=fX13MkxV2d0

I became an amateur ornithologist thanks to Messiaen; he made me realise birds are incredibly colourful and poetic beings of God. His works don't do them justice but I still enjoy them a great deal.
youtube.com/watch?v=G6Izpdkjrhk

>youtu.be/x0__tgrjTkc
Absolutely divine.

These are gorgeous, I need to listen to more choral works.

Bruckner
youtube.com/watch?v=-B14AdCdSwc

At this point it's really hard to tell if 93511453 is a troll or an idiot.

Not an argument

More motets:

youtube.com/watch?v=ov-OAmpcRfw

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Pay no attention to the psychotic narcissist and he will go away sooner than later.

MORE motets/Bruckner
youtube.com/watch?v=2gzB-np9LJ0

*forgets to retype name*

pls

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Is it this?
youtube.com/watch?v=juq91-4BdXs

Yes, thank you very much.

You're welcome user

I hope kung flu doesn't reach you.

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Messiaen
youtube.com/watch?v=mxt4Vp9OtAw

Looks like I pushed the nigger trigger

I am glad you are coping well, friend. I honestly feel kinda bad. Now post some Schoenberg I haven't heard.

Shostakovitch's 15th:
>youtube.com/watch?v=QLng0R1FzC4&t=17s

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Skryabin/Svetlanov
youtube.com/watch?v=OU8MahuNWhc

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is Takemitsu a meme?

Do you perfer wind driven compositions or string driven compositions?

Wind.

Here’s what you consonancefags don’t understand. Because our music was created from the standpoint that everything is relative we don’t care about winning a formal argument or pointing out fallacies. Every point you make may have consistent logic but we left that decades ago. Not only is logic incapable of fully grasping everyhing, it’s uninteresting. We can therefore not be beaten because we were never playing according to your rules. You see this as a disagreement with a winner and a loser. While we were merely shitposting, as we always are. Your battle for truth has been lost.

m.youtube.com/watch?v=iX_DQSQ_fO4

>Shostakovich

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hear hear!

i can tell you are ironyposting but ferneyhough is actually good

What do you like about him?

>Boulez

The only irony here is that you’re actually an idiot despite the pretence of intellectuality.

Answer me you fucks

No. In this general we only spitefully argue and call each other mean names

no we don't, retard

Yes, almost always. You’re the namefag, Ghoul, not me.

youtube.com/watch?v=cvVL23QpRFk

That’s Yas Forums, newfren

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Haydn

youtube.com/watch?v=0EJuZ73JfjI

Ayo classicalfags gimme some bangers

m.youtube.com/watch?v=oTrrPtpCIPA

Post piano concertos with slow opening movements.

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what the fucking Wagner
youtu.be/J-qoaioG2UA

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Ligeti
youtube.com/watch?v=txMWXvD8kL4

Fuck slow opening movements.

plump BUMP

How the fuck do I count 3/8?

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Why do you say that?

Bless slow opening movements

How long is the ideal pause between movements in a concert guys?

owo what is this

youtube.com/watch?v=KeRkiHcRBCY

Depends on the piece; some need to get on with it as fast as possible while others need some silence so the listener can contemplate the motifs inside their consciousness.

I can't stand dry, overly textural string sections that empasize harmonic wankery over rhythm. I prefer strong brass and woodwind

this is horseshit
the time should be decided by when the audience ceases cheering
the "no clapping in between movements" is an early mid-20th century thing, and, like most musical developments of the 20th century is a terrible thing.

>audience ceases cheering
>between movements

>the "no clapping in between movements" is an early mid-20th century thing
I know. Good.
>like most musical developments of the 20th century is a terrible thing.
I'll kindly ask you to shut the fuck up between movements, dilettante.

Theres not much difference from 3/4 I think it has a bit of a lighter character but that would be expressed in the notes.

Burger detected.

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why can't white people refrain from clapping for at least 10 minutes?

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You know, Americans aren't the only ones who clap at live performance. Your brain only thinks in memes from 2012 though

I know, however our globalised culture has become grotesquely Americanised. Why can't you sit still for one hour and be quiet? I just want to contemplate the art and by the end of the piece I'll voice my appreciation or ingratitude. I don't need buffoons screaming and making noise around me just like they do everywhere else in this godforsaken place. There's too much noise on this world, just shut the fuck up for one measly hour. You can clap at home all you like between movements.

Its an expression of gratitude for the performance. I do agree though that its not appropriate to applaud in-between movements however. Clapping at the end is fine

Multi movement instrument pieces from Beethoven's symphonies onward are almost all too homogeneous to not be performed in a single take, as one piece without any breaks. It just took people almost a century to realise that and to be quiet between movements.
I don't care that they shuffled movements around and pushed random opera arias inside the programme in Mozart's time.

>Multi movement instrument pieces from Beethoven's symphonies onward are almost all too homogeneous to not be performed in a single take
it's probably more of a reflection of the ubiquity of recorded music. they changed the real world to fit the experience of listening that you get from a recording, which has no clapping in between movements. also they probably weren't clapping very enthusiastically, because instead of hearing beethoven a few times a season they hear him all year round. so the live performance excites less and people probably didn't clap as much in between movements.

i don't understand what you mean by "homogenous"

People didn't clap between movements before recording was even a thing though.
>i don't understand what you mean by "homogenous"
Symphonies (for example) meant as one piece of music with one driving aesthetic or philosophical force/idea and not just random movements lumped together that you can shuffle around whenever you please. Homogeneity is achieved by similar thematic material reappearing or being transformed through and through and symmetry in form and structure. Beethoven clearly wanted his pieces to be performed with this respect in mind. Mozart and Haydn not yet probably so I guess if we want to be historically informed audiences we can clap and shout between movements and maybe stick an aria or two out of an opera in-between, heh.

>historically informed audiences
meant in the case of Mozart and Haydn obviously*
Beethoven? Nope! We are quiet until the very end.

>People didn't clap between movements before recording was even a thing though.
yeah, they did.

strauss is homogenous and blends sections together. changing the time signature, tempo, key signature and complete tone of the movement does not homogeneity make. in the abstract the motive may be twisted or changed and reused, but to call it "homogenous" doesn't make any sense. otherwise it would not be differentiated by movement.

at the time of dvorak's 9th people still clapped in between movements: en.wikipedia.org/wiki/Symphony_No._9_(Dvořák)#Reception

>At the premiere in Carnegie Hall, the end of every movement was met with thunderous clapping and Dvořák felt obliged to stand up and bow.

this was as late as 1893

and here's an alternative view of things:
classicfm.com/discover-music/why-dont-we-clap-between-movements/

>People started to think that clapping between the movements of a symphony distracted from the unity of the piece, punctuating works with unnecessary noise on live CD recordings.

there is no reason to not clap. i think it should be up to the composer or conductor, not a blanket rule applied to everything.

>Carnegie Hall
Again, Americans... I keep forgetting that it's a real place with real people, my view is purely Germanocentric.
>classicfm
Wouldn't exactly post them or take them seriously as a credible source, they don't even post any (serious) citations or sources in their "articles".
>there is no reason to not clap
There is plenty of reasons.
>i think it should be up to the composer or conductor, not a blanket rule applied to everything.
I'm fine with this actually, it makes the most sense.

Beethoven Bump youtube.com/watch?v=GjXBKR4iDS8

>the "no clapping in between movements" is an early mid-20th century thing

Actually, it's Wagner thing.

Carl Nielsen
youtube.com/watch?v=KeXxCBafeWQ

youtube.com/watch?v=xTNbclgU3h4
youtube.com/watch?v=841jxlKeAgI

I remember reading Twain's writings on Wagner, which, while otherwise quite scathing, held remarkable respect for the Bayreuth audience, who tried their best to stifle coughs and other extraneous noises. He compared it to the culture of racket back home and more or less said that the reverence with which the German audiences approached the music was far more worthy of respect by comparison to the American audience who treated opera as a social event first and foremost.

interesting part
youtu.be/KeXxCBafeWQ?t=1198

tragically music isn't about the music, it's about the people
if u think about how cloistered and superficial contemporary classical is
it was precisely the same way during until well into the 19th c

the only difference was the aristocracy was actually educated, and actually cared about spirit

why don't today's oligarchs independently support composers like they did with Mozart and beethoven?

Oligarchs will only support an artist for

1: their own vanity
2: because they believe their art is important to the ongoing cultural heritage of the world.

With the state of contemporary art, we know it’s not the later.

Chopinfags btfo youtu.be/nvWmxnJ8y18

>underrating the Chopin etudes
lol

>tragically music isn't about the music, it's about the people
if u think about how cloistered and superficial contemporary classical is. it was precisely the same way during until well into the 19th c
I don't think I fully understand what you mean by this. Can you elaborate?

>why don't today's oligarchs independently support composers like they did with Mozart and beethoven?
I don't have the full answer to this, but I know that modern western society structured very differently. Maybe it is more compartmentalized and bureaucratized? If we want something done, we create institutions and laws. There are no people doing things anymore. At least on the surface. We hide personal agency (if there are any) behind placeholders, both concrete and abstract. Or more commonly we let the systems we design do the job for us. We don't have agency, we have meta-agency. For art we have councils, museums, universities and so on. And art is a commodity as never before. (What isn't a commodity these days?) While Mozart needed to perform and teach to make a living (the Emperors position went to Salieri instead although the he supported Mozart as well to some extent), he could today have made a living from from streaming, youtube, social media, endorsements and merch.

>the only difference was the aristocracy was actually educated, and actually cared about spirit
Good point! I think some of it is incidental. For example, jobs are increasingly specialized. Being the director of an arts council might be somewhat removed from the actual art, thus she doesn't need to know all that much about art. And some is pure degeneracy of the modern world of course.

Damn I hate that dude. On every video about Czerny you can read his comments about how Czerny is better than Chopin and Chopin sucks, it's like he has some sort of personal vendetta.

I mean that what qualified as good taste, what the composers themselves were striving to achieve, was determined by opinions formed at social gatherings and, unironically, the opinions of women often were the air guiding taste

this has always been the case, whether taste was determined in court gatherings or salons, an equivalent of which is absent today

this book
amazon.com/Music-Galant-Style-Robert-Gjerdingen/dp/0195313712

a pdf can be found, this guy is part of a pedagogical revival I'm trying to wrap my head around, he has an excellent lecture here on little neapolitan orphans turned into musical slaves
youtu.be/ii6VtnUVsok

>spirit

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Czerny is the worst composer of all time.

I'm an aristoplatonic hegelian with a pair of rose colored kantian perceptor glasses detecting the thing itself as an a priori geometry of prismatic polygons
fuck off

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Yeah, I guess you're right :/

Such a long winded word salad to say you're a massive faggot

youtube.com/watch?v=W6CAYzJnvro

That's pretty interesting!

are you pro or antikofiev?

pro antikofiev

youtube.com/watch?v=vKZPgGbUuX0

3 beats in a measure, 8th note gets the beat.

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too slow, too fast, too slow, too fast, ...
muh contrasts
I don't get the appeal of memeentzis

youtube.com/watch?v=g8rqGDhrzC4

>Mahler
Yeah I'm not going to listen to judge.

Schmidt

youtube.com/watch?v=XfxyxYm_I7w

Schmitt

youtube.com/watch?v=gmWpudUVkdY

Hello?
I’m genuinely wondering because I’m interested in Ferneyhough and wondering why other people like him

Different user. I'm not really into him, so I can't say much about his style in general, but I really love Liber Scintillarum because of the textures and the harmony.

Verdi

youtube.com/watch?v=EyKIECX1_hQ

Mozart
youtube.com/watch?index=11&v=okFlNAl7HQQ

Other than Johnston, who are the most important modern and contemporary composers who use just intonation/microtones?
Please help.

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Biber

youtube.com/watch?v=k5ai80pyCYg

So good.

Wolfe

youtu.be/nMsZr4c2e20

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Anyone got some floaty type of violin pieces like Dvorak's String Quartet 12

youtube.com/watch?v=A6ysOqkHflY

are u insane I listen to this on my walks along public trails
youtu.be/W4doaYXxxiA

what do you think of Mendelssohn's early stuff, those late classical/proto-romantic short-ish from when he was like 11-16? I think his first piano concerto in A minor (not to be confused with is piano concerto Nº1 in G minor written when he was about 20) is actually really fucking cool. His first string quartet, too.
youtube.com/watch?v=w4oEEVCQBmo

pro ofc, there's something magical about his harmony

youtu.be/Qe4yTxbOTi4

somewhere between indifferent and pro

Pro youtu.be/Z8ScJUCzYOg

youtu.be/lncNcNtGkJY
schubert

Mozart
youtube.com/watch?v=HqWfvOybPXg

Just about how many hours of music did Mozar write?

as many gallons as we have farmed of cows milk

Apparently someone calculated and estimated he spent 8 hours a day from age 20-35 physically writing music(not even composing but just the writing out part to manuscript), sounds very hard to believe for me.

That does really help...

>8 hours a day from age 20-35 physically writing music
you could still spend weeks on just the one work, so it's impossible to calculate how many hours he wrote going by this

>His first string quartet, too.
piano* quartet, sorry

he could write symphonies in less than a week im pretty sure

it's still not a good metric to go by when trying to find out how many hours of music he wrote. There MUST be some dedicated, all-encompassing full edition of his works by some big name record company like Decca or something that we might get the entire length of his works

gone in a fire oops

Red me some
Machaut
Du Fay
Obrecht
des Prez
Byrd
Tallis
Taverner
Gibbons
Palestrina
Gombert

*rec

complete works

wat

I fucking hate when a piece is so quiet in the quietest parts that you have to turn up the volume, and then it's so loud in the loudest parts that your eardrums are gonna rip. I always had this problem with Prokofiev's first symphony. Maybe partly because I used to listen to it mostly while running.

>Maybe partly because I used to listen to it mostly while running.
that sounds like your problem, nigga

>not a single fucking Bach post
absolute fucking state of this general

I just listened to the first movement at home and kind of had that problem now too. It's really fucking quiet in the quiet parts and really fucking loud in the loud parts and it annoys me.

>complaining about Bach while not posting Bach
you're like an antisemite kike except wrong

Where do I start

chronological order duh

Ok

Honegger

m.youtube.com/watch?v=RbWsi9gHrAA

youtube.com/watch?v=rpdDFvkz0os

>dynamics annoy me

Dis shiet iz dank yo

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This is annoying while living in an apartment

Have you guys commented on this man?
youtube.com/watch?v=1XG4LFyMg9M

I think he is a pretty cool guy. eh plays beethoven at half speed and doesn't afraid of anything.

Black people can't listen to classical

What do we think of him?

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It's already 2020. Are there any new genres of classical music yet?

1e2

Are any of these good?

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Hey this Albioni guy seems pretty cool

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Was sorabji the best composer?
youtube.com/watch?v=2U_jYR6jg6o

Wow!

maybe

Yeah!

bump

he meant 8 hours a day just copying

en.wikipedia.org/wiki/Microtonal_music

Pioneers of modern Western microtonal music include:

Henry Ward Poole (keyboard designs, 1825–1890)
Eugène Ysaÿe (Belgium, U.S.A., 1858–1931, used quarter tones in several of the Sonatas for Solo Violin, Op. 27)
Ferruccio Busoni (Italy, Germany, 1866–1924). Experimented with microtones, including third-tones.
Charles Ives (U.S.A., 1874–1954, quartertones)
Julián Carrillo (Mexico, 1875–1965) many different equal temperaments, look here or here (mostly Spanish but some English too)
Béla Bartók (Hungary, 1881–1945, rare uses of quartertones)
George Enescu (Romania, France, 1881–1955) (in Œdipe to suggest the enharmonic genus of ancient Greek music, and in the Third Violin Sonata, as inflections characteristic of Romanian folk music)
Karol Szymanowski (Poland, 1882–1937, used quartertones on the violin in Myths Op. 30, 1915)
Percy Grainger (Australia, 1882–1961, particularly works for his "free music machine")
Edgard Varèse (France, U.S.A., 1883–1965)
Mordecai Sandberg (Romania, Austria, Palestine, USA, Canada, 1897–1973)
Luigi Russolo (Italy, 1885–1947, used quartertones and eighth tones on the Intonarumori, noise instruments)
Mildred Couper (U.S.A., 1887–1974, quartertones)
Alois Hába (Czechoslovakia, 1893–1973, quartertones and other equal temperaments)
Ivan Wyschnegradsky (U.S.S.R. (Russia), France, 1893–1979, quartertones, twelfth tones and other equal temperaments)
Harry Partch (U.S.A., 1901–1974, just intonation, including a system of 43 unequal tones to the octave)
Eivind Groven (Norway, 1901–1977, 53ET)
Henk Badings (The Netherlands, 1907–1987, 31ET)
Maurice Ohana (France, 1913–1992, third tones (18-equal) temperament and quarter tones (24ET) most particularly)
Giacinto Scelsi (Italy, 1905–1988, intuitive linear tone deviations, quartertones, eighth tones)
Lou Harrison (U.S.A., 1917–2003, just intonation)
Ivor Darreg (U.S.A., 1917–1994)

Jean-Etienne Marie (France, 1919–1989, many different equal temperaments: 18ET, 24ET, 30ET, 36ET, 48ET, 96ET most particularly and polymicrotonality)
Franz Richter Herf [de; nl] (Austria, 1920–1989, 72-equal temperament, "ekmelic" music)
Iannis Xenakis (Greece, France, 1922–2001, quarter and third tones most particularly, occasionally eighth tones)
György Ligeti (Hungary, 1923–2006, Ramifications in quartertone tuning, natural harmonics in his Horn Trio, later just intonation in his solo concertos)
Luigi Nono (Italy, 1924–1990, quartetones, eighth tones and 16th tones)
Claude Ballif (France, 1924–2004, quartertones)
Tui St. George Tucker (1924–2004)
Pierre Boulez (France, 1925–2016) (first example of serial music with quartertones in his pieces Le Visage nuptial and Polyphonie X, but soon after abandoning microtonal elements)
Karlheinz Stockhausen (Germany, 1928–2007, in his electronic works many microtonal concepts, non-octaving scales in Studie II, just intonation in Gruppen and Stimmung, occasional microtonal instrumental and vocal writing throughout Licht)
Ben Johnston (U.S.A., 1926–2019, extended just intonation)
Joe Maneri (U.S.A., 1927–2009)
Ezra Sims (U.S.A., 1928–2015, 72-tone equal temperament)
Erv Wilson (1928–2016)
Carlton Gamer (U.S.A, born 1929, 7-tone, 19-tone, 22-tone, 31-tone equal temperament)
Alvin Lucier (U.S.A., b. 1931)
Joel Mandelbaum (U.S.A., b. 1932)
Krzysztof Penderecki (Poland, b. 1933, quartertones)
Easley Blackwood (b. 1933)
Alain Bancquart (France, b.1934) (quarter tones and sixteenth tones)
James Tenney (U.S.A., 1934–2006, just intonation, 72-tone equal temperament)
Terry Riley (U.S.A., b. 1935, just intonation)
La Monte Young (U.S.A., b. 1935, just intonation)
John Corigliano (U.S.A., b. 1938, quarter tones)
Douglas Leedy (b. 1938, just intonation, meantone)
Wendy Carlos (U.S.A., b. 1939, non-octaving scales)

Bruce Mather (Canada, b.1939, different equal temperaments, following Wyschnegradsky)
Brian Ferneyhough (Great Britain, b. 1943, quartertones, 31ET in Unity Capsule for solo flute,1976)

Recent Western microtonal composers:

Clarence Barlow (b. 1945)
Gérard Grisey (1946–1998) (spectral approach to microintervals, quartertones, eighth tones)
Max Méreaux (b. 1946)
Tristan Murail (b. 1947) (spectral approach to microintervals, quartertones, eighth tones)
Glenn Branca (b. 1948)
Claude Vivier (1948–1983)
Dean Drummond (1949–2013)
Greg Schiemer (b. 1949)
Lasse Thoresen (b. 1949)
Warren Burt (b. 1949)
Manfred Stahnke (b. 1951)
James Erber (b. 1951) quarter tones
Rhys Chatham (b. 1952)
Kraig Grady (b. 1952) (invented acoustic instruments in just intonation & recurrent sequences)
David First (b. 1953)
Georg Friedrich Haas (b. 1953)
James Wood (b. 1953)
Pascale Criton (b. 1954) (different equal temperaments, most particularly very dense ETs such as the 96ET)
Paul Dirmeikis (b. 1954)
Stephen James Taylor (b. 1954)
Pascal Dusapin (b. 1955) (different equal temperaments, notably the 48ET)
Kyle Gann (b. 1955)
Johnny Reinhard (b. 1956) (different equal temperaments, just intonation, polymicrotonally)
Eric Mandat (b. 1957)
Erling Wold (b. 1958)
Michael Bach Bachtischa (b. 1958)
Lucio Garau (b. 1959)
Michael Harrison (b. 1959) (just intonation)
Martin Smolka (b. 1959)
Richard Barrett (b. 1959)
Georg Hajdu (b. 1960)
William Susman (b. 1960)
François Paris (b. 1961)
Franklin Cox (b. 1961) quarter tones, 1/12 tones, extended just intonation
Daniel James Wolf (b. 1961)
Claus-Steffen Mahnkopf (b. 1962) quarter tones, 1/8 tones
Harold Fortuin (b. 1964)
Marc Sabat (b. 1965) extended JI up to 23-limit
Georges Lentz (b. 1965)
Jeffrey Ching (b. 1965) (quartertones, ancient Chinese tunings, e.g. circle-of-fifths and just intonation)
Geoff Smith (b. 1966)
Trey Spruance (b. 1969)
Richard David James, aka Aphex Twin (b. 1971)
Paweł Mykietyn (b. 1971)
Yitzhak Yedid (b. 1971)

Yuri Landman (b. 1973)
Kristoffer Zegers (b. 1973)
Martin Suckling (b. 1981)
Saman Samadi (b. 1984)
Taylor Brook (b. 1985)
Michael Waller (b. 1985)
Elaine Walker

Easley Blackwood - 12 Microtonal Etudes
youtube.com/watch?v=HbuFPpiJL1o

it annoys me when the range is too big, idiot

Wyschnegradsky ~ 24 Preludes for Two Quarter-Tone Pianos
youtube.com/watch?v=tDroa5WTU34

Alois Hába: Sonata for quarter tone piano, op.62 (1946/1947)
youtube.com/watch?v=FDs7ve1uGbg

Charles Ives: Three Quarter-Tone pieces (1903/1923)
youtube.com/watch?v=BhF0-hN4I8k

Fokker Organ
youtube.com/watch?v=UmGhF32ulKc

Ligeti on Fokker Organ
youtube.com/watch?v=fhxMQQn7nto

Whay are you implying?

thanks! :)

micro tonality is a shitty meme

>Aphex Twin
kek

Why?

What's some more modern music I might like if the Romantic era is my favorite?

Oh, and pic related is really cool

Attached: maxresdefault (20).jpg (1280x720, 171.4K)

Ades was accused of making "cheesy late-romantic music" so probably him.

because 12 notes is a perfect division of a perfect circle into 4 sets of 3 or 3 sets of 4
4 augmented chords whose notes are each the roots of 3 diminished chords, or 3 dim chords who are each composed of the roots of the 4 augmented chords

it's not about how many notes u have to the octave it's about the potential equal divisions you get within the initial octave division. because of certain numeral properties, that also determined 360 degrees to a circle, 12 works out perfectly to allow an oscillating interplay between consonance and dissonance

2 sets of 2+ and 3 sets of 4°, rather

like twin primes determining galaxical distributions, 2 and 3 have an interlocking dance that is perfect

Wagner
youtu.be/8k41D9por6c

wagner is the kafka of music wtf

zero second so retards don't slow the performance with endless clapping

Long enough to take a smoke break

>underrating Czerny

youtu.be/KJ3KGzOj4CE

What's the most emotional classical piece?

what do you mean by emotional?

Happy emotions?
Sad emotions?
Romantic?
etc

youtu.be/2YAzUC6LzNk
Borodin

generic answer but here you go

youtu.be/M3koTQrwZE4

The most difficult piece for cello solo? (classical, not some EAI shit)

>4 augmented chords whose notes are each the roots of 3 diminished chords, or 3 dim chords who are each composed of the roots of the 4 augmented chords
Nice! But can't you approximate these alright in several others, just like we approximate overtone series with n=12.
>it's not about how many notes u have to the octave it's about the potential equal divisions you get within the initial octave division.
So you want to have a decent number of divisors? And maybe with certain properties? That tosses out all the primes! And I suppose you want to keep n as low as possible for practical reasons as well. Here are divisors of n=12,..,50

12 [1, 2, 3, 4, 6, 12]
13 [1, 13]
14 [1, 2, 7, 14]
15 [1, 3, 5, 15]
16 [1, 2, 4, 8, 16]
17 [1, 17]
18 [1, 2, 3, 6, 9, 18]
19 [1, 19]
20 [1, 2, 4, 5, 10, 20]
21 [1, 3, 7, 21]
22 [1, 2, 11, 22]
23 [1, 23]
24 [1, 2, 3, 4, 6, 8, 12, 24]
25 [1, 5, 25]
26 [1, 2, 13, 26]
27 [1, 3, 9, 27]
28 [1, 2, 4, 7, 14, 28]
29 [1, 29]
30 [1, 2, 3, 5, 6, 10, 15, 30]
31 [1, 31]
32 [1, 2, 4, 8, 16, 32]
33 [1, 3, 11, 33]
34 [1, 2, 17, 34]
35 [1, 5, 7, 35]
36 [1, 2, 3, 4, 6, 9, 12, 18, 36]
37 [1, 37]
38 [1, 2, 19, 38]
39 [1, 3, 13, 39]
40 [1, 2, 4, 5, 8, 10, 20, 40]
41 [1, 41]
42 [1, 2, 3, 6, 7, 14, 21, 42]
43 [1, 43]
44 [1, 2, 4, 11, 22, 44]
45 [1, 3, 5, 9, 15, 45]
46 [1, 2, 23, 46]
47 [1, 47]
48 [1, 2, 3, 4, 6, 8, 12, 16, 24, 48]
49 [1, 7, 49]
50 [1, 2, 5, 10, 25, 50]

>because of certain numeral properties, that also determined 360 degrees to a circle, 12 works out perfectly to allow an oscillating interplay between consonance and dissonance

360 [1, 2, 3, 4, 5, 6, 8, 9, 10, 12, 15, 18, 20, 24, 30, 36, 40, 45, 60, 72, 90, 120, 180, 360]

>2 sets of 2+ and 3 sets of 4°, rather
I don't understand what you mean by this
>like twin primes determining galaxical distribution
I know of twin primes, but I haven't heard about the connection to galaxies
>2 and 3 have an interlocking dance that is perfect
Let's see what happens when we filter out all without the divisor 6

12 [1, 2, 3, 4, 6, 12]
18 [1, 2, 3, 6, 9, 18]
24 [1, 2, 3, 4, 6, 8, 12, 24]
30 [1, 2, 3, 5, 6, 10, 15, 30]
36 [1, 2, 3, 4, 6, 9, 12, 18, 36]
42 [1, 2, 3, 6, 7, 14, 21, 42]
48 [1, 2, 3, 4, 6, 8, 12, 16, 24, 48]

I am thinking that we should seek out n which have properties very different from n=12. n=12 is very good for what it does, but if we require divisor 6 it seems to me we will simply get tets similar to n=12 which is not what we want if we want to explore new sounds.

What about the ability to approximate the overtone series? I think we all can agree that n=12 is the least we can use in this regard.

Czeyner is it you? Fuck off no one cares about your opinion

Music isn't emotional, you are.

t. soullet

notes have magic. they are alive.

Do you like this melody? noteflight.com/scores/view/92b417db99a58696ba118ae6b38954658befb9fe

good start but it needs more flow and focus. ideas interrupt eachother.

so infuriating when I post a post and it doesn't post

all multiples of 9 sum to 9
>9x4=36=9
all of 3 oscillate 3,6,9
2 is bimodal, do the math yourself

think origin, think the pattern of prime propogation

12 gives us all the detail we need to generate the whole circle, whose ratio betwixt c and r is (pi) irrational (because the whole is greater than the sum of it parts

12 notes to an octave gives us that symmetry inherent in numeracy

4 AUG chords is 4 triangles, 3 dim chords is 3 squares
when you put them together on either the chromatic circle or circle of fifths, you get a platonic dodecahedron symmetry inherent in numbers themselves

Attached: compound_C&O__cuboctahedron.png (450x450, 28.05K)