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arete1952

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Everything posted by arete1952

  1. I have wondered about this myself for a long time: http://www.unconservatory.org/articles/smartpeople.html
  2. A good question, Flow...and a quite a problem to find a good teacher. Many people make the mistake of thinking that if someone plays their instrument well, they will be a good teacher...quite often just the opposite is the case; I have had plenty of experience studying with great players who were terrible teachers. I define a good teacher as someone who really cares about teaching, takes it seriously, is organized, presents ideas/concepts clearly, is sensitive to a student's needs/limitations/abilities and of course is a good musician themselves. You are correct in thinking weekly lessons are best. Finding a teacher can be very difficult. You could start by visiting any nearby colleges with music programs and talking to a counselor or faculty member or office staff. You could also try local music shops which offer lessons but I don't recommend that...lots of lousy instruction at those places typically. See if you can make contact with any local musicians who might be able to recommend someone. At any school offering both types of degrees, there will be many classes that will be common to both curricula, i.e., every one will take the same basic theory courses. For example in my case in the first two years all music majors had to take two years of harmony (which included aural/oral skills, i.e. sightsinging, dictation, etc.) one year of counterpoint and one year of music history. In the third year everyone had to take a class in musical form, a class in instrumentation and a class in contemporary techinques (20th century compositional techniques). Those were the only three upper division classes required of all majors. Any other classes would be specific to someone's major. As I was a (classical) composition major I had to take a class in composition in small forms, a class in advanced orchestration, a class in advanced counterpoint, a class in advanced formal analysis, a class in conducting and one year of electronic music composition. In addition every semester I had a composition class where I worked on actual pieces to be performed. Someone working on a degree in jazz theory would be taking courses specific to that discipline although there could be some overlap. Much depends on the specific school. I disagree with synthlord when he states that a good curricula will teach both. There are many excellent music programs that do not offer much in the way of jazz studies. If you decide to specialize in jazz theory there will not be as many schools from which to choose. Just curious: do you want a degree in music theory or music performance? I was under the impression you wanted a theory degree although you can major in one area and minor in another. And as I mentioned, even if you are a theory major you will have to demonstrate a certain level of proficiency on your instrument. Also what are your ultimate goals? Teaching theory at the college level, performance, both? I ask because if you intend to teach college you will typically need a Ph.D., even to teach at the community college level. If regard to sight-reading: if you do not intend to be a pro jazz guitarist who will be auditioning for gigs and recording sessions, your ability to sight-read, which I grant is an important skill, is not a critical as synthlord makes it out to be.
  3. Hello Flow: Typically to get accepted into the music program of a four-year college, one has to audition on their instrument (and in some cases take a theory entrance exam). Depending on the specific school, as a guitarist you might have to audition on classical guitar, although some schools have jazz guitar programs and will let you audition on that instrument. I, of course, don't know how proficient you are on guitar, but given that you are a self-taught and you feel your technique is mediocre, you might not be able to pass the audition. As such, you might consider starting your music studies at a community/junior college. Music programs at community colleges are very easy to get into and are a great way for a person in your situation. (Even if you have to audition, it is more for the teachers to see what level you are at...I don't think they will not allow you to be a music major.) In regard to theory classes, if you have no background/knowledge you can take the basic introduction to music theory class that is offered. After that class you will progress through the harmony and counterpoint courses. In other words, with a community college music program, one can be starting from scratch musically and be able to go on to get their bachelors degree...and beyond that if you want! Regarding your guitar playing, I recommend you: 1. decide whether you want to study classical or jazz guitar 2. get a GOOD teacher ASAP Even if you get your bachelors degree in music theory, you will have to demonstrate a certain level of proficiency on your instrument before you can graduate. As such, get a good guitar teacher as soon as you can. As a classical guitarist myself I would recommend you study classical...you will develop a very solid techinique that will allow to play any other style you might choose down the road. In addition some schools may not have a jazz guitar program, i.e., you can only play classical. I hope this info helps a little. I check this site frequently so please feel free to ask me any questions you might have and I will respond as soon as I can. Ken
  4. For those of you who want to explore the world of classical music and 'try before you buy' I would like to recommend the following website: www.naxos.com They have an extensive CD catalog of Western art music ranging from medieval plainchant to 21st century music and most of the catalog is available for online listening. For no charge you can listen to the first 25% of any selection (at the Amazon site one gets to hear the first 60 seconds). For a yearly subscription fee of $19.95 one can listen to 100% of any selection...an inexpensive way to sample the world's greatest music. Enjoy!
  5. The modern day equivalent of 17th-19th century operas is contemporary opera!!! As a composer of art music I have had dozens (hundreds???) of conversations with people who do not realize that there are literally thousands of men and women today writing art music such as symphonies, chamber music, opera, piano sonatas, etc., etc., etc. (By the way, many thanks synthlord for your remarks re: 'modern classical music'...as you state, classical is a specific period in Western art music [1750-1825]...however when I tell people I am a composer, and they ask what type of music I write I say 'classical' unless I am speaking with someone who is 'in the know' about proper terminology...the proper term for today's 'classical' music being contemporary art music.) Film scores are, in fact, a form of incidental music. Here is the Wikipedia definition of incidental music: Incidental music is music in a play, television program, radio program or some other form not primarily musical. The term is less frequently applied to film music, with such music being referred to instead as the "film score" or "soundtrack". Incidental music is often "background" music, and adds atmosphere to the action. It may also include pieces which will provide the main interest for the audience, for example overtures, or music played during scene changes. It may also be required in plays which have musicians performing on-stage. The use of incidental music dates back at least as far as Greek drama. A number of classical composers have written incidental music for various plays, with the more famous examples including Ludwig van Beethoven's music for Egmont, Felix Mendelssohn's music for A Midsummer Night's Dream and Edvard Grieg's music for Henrik Ibsen's Peer Gynt. Parts of all of these are often performed in concerts outside the context of the play. Mendelssohn's Midsummer Night's Dream music is a great example of incidental music. There is music played just before the first curtain (the overture), music played BETWEEN acts (the scherzo after the first act and the intermezzo after the second act), music played WHILE actors are speaking, various songs wherein Mendelssohn sets Shakespeare's text to music, the famous Wedding March, etc. Mendelssohn's music for the play is AMAZING!! I recommend it highly. About ten years I composed incidental music for a college production of Shakespeare's Tempest...a very enjoyable experience.
  6. What reasons do you have for thinking he'd be writing film scores? Very few first-rate classical composers have written for film: Stravinsky, Prokofiev, Copland and Corigliano come to mind. And film scores were/are a very small portion of their output. Beethoven might write a film score or two but he would have very little patience with the jerks in Hollywood. And he wouldn't work on any film he considered immoral...he was something of a prude. No surprise here at all...Hollywood composers are constantly stealing from classical composers.
  7. arete1952

    Beethoven

    Very simple structurally and melodically???? You are kidding, right? Beethoven is the supreme architect of music. No composer has ever handled various large scale forms/structures (sonata-allegro, theme and variations, rondo, sonata-rondo, etc.) with more mastery and sophistication. Listen to his late string quartets and then tell me how simple his music is structurally. And in regard to his music being 'malevolent'.....this is one of the most ludicrous statements I have ever heard/read...his works are among the most triumphant, life-affirming works of art ever created.
  8. Composing songs using existing poetry was standard operating procedure for hundreds of classical composers including Haydn, Mozart, Beethoven, Schubert, Schumann, Brahms, on and on.... and I wish rockers would not bother to create their versions of classical pieces...I don't need their butcher jobs...
  9. So many incredible works of Western Art Music! Here are a few favs: Monetverdi: L'Orfeo J.S. Bach: concert (Brandenburg and violin in particular); solo violin, cello and lute music Haydn: symphonies (many favorites including #s 13, 22, 46, 60, 63, 77), string quartets, cello concerti Mozart: symphonies, piano concerti, operas Beethoven: just about anything! Mendelssohn: incidental music for A Midsummer Night's Dream, String Octet in Eb Schubert: String Quintet in C Brahms: Two orchestral serenades, Haydn Variations Dvorak: Serenade for Strings, Slavonic Dances, Legends, Czech Suite Vaughan Williams: Tallis Variations Copland: Our Town, Two Pieces for String Orchestra Lutoslawski: Preludes and Fugue for 13 Solo Strings
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