Other music

Anaxagoras · Post by **Anaxagoras** » Wed Sep 09, 2020 10:53 am

A blast from the past.

You know the song, but do you remember the video?

Witness · Post by **Witness** » Wed Sep 09, 2020 11:38 pm

Witness · Post by **Witness** » Thu Sep 10, 2020 12:02 am

I had seen that, but it's from a movie. Good but fake.

Witness · Post by **Witness** » Thu Sep 10, 2020 12:12 am

Yeah, you don't see it.

Witness · Post by **Witness** » Sun Sep 27, 2020 11:38 pm

Abdul Alhazred wrote: ↑Sun Sep 27, 2020 3:04 pm Excellent musique d’ameublement :coolspecs:

The long, boring, 19^th century. (Which ended with WWI.) All hangings and doilies. :mrgreen:

Have you tried fiercely Christian musique d'ameublement of the 20^th century?

Somebody said it was "stoup scrapings". (But in French raclure de bénitier is very near the raclure de bidet insult…)

Blargh!

Witness · Post by **Witness** » Mon Sep 28, 2020 12:37 am

It's only recently that one has to blot out the loneliness everywhere.

It's only (relatively) recently that music can be canned and people don't have to make it themselves, or hire somebody to produce it.

If you look back somewhat (a different country) you'll see that a lot of people practiced some musical instrument or knew songs – drinking songs, popular dances – but that was for festive occasions, or just to gather together during long television-free evenings. (Crumb drew a nice comic about that.) The diatonic accordion and its répertoire are a good example:

But if you consider "higher" ancient music, an astonishing part of it was throw-away, composed for a particular event (and of course recycled afterwards) and as such only "musique d'ameublement" too, for the background. The same could be said of church music, only an accompaniment to the important part (e. g. a mass).

The anecdote / example I particularly like is Casanova having a small orchestra playing (out of sight, evidently) while he boned one of his mistresses. Or so he wrote…

Witness · Post by **Witness** » Mon Sep 28, 2020 8:47 pm

Some Schumann, for a change? Two versions to compare (others on YT):

Witness · Post by **Witness** » Sun Oct 11, 2020 12:45 am

The French "original":

Witness · Post by **Witness** » Sun Oct 11, 2020 10:51 pm

Abdul Alhazred wrote: ↑Sun Oct 11, 2020 1:11 am Ochi Chornye has a French original? :o

original != "original"

Witness · Post by **Witness** » Tue Oct 20, 2020 3:40 am

Anaxagoras · Post by **Anaxagoras** » Tue Oct 20, 2020 11:03 am

Doctor X · Post by **Doctor X** » Thu Oct 29, 2020 12:29 am

– J.D.

Witness · Post by **Witness** » Thu Nov 26, 2020 2:18 am

Anaxagoras · Post by **Anaxagoras** » Sun Nov 29, 2020 3:36 pm

Witness · Post by **Witness** » Fri Dec 18, 2020 4:05 am

Some Beethoven for Fid:

I have a soft spot for the Badura-Skoda version:

And here's an interesting heretical "historical tempo reconstruction":

Anaxagoras · Post by **Anaxagoras** » Sun Dec 20, 2020 3:13 pm

I may have posted this before, but not too recently

It's a bit of an internet meme now. Rule 34 may even apply.

Witness · Post by **Witness** » Tue Dec 22, 2020 5:10 am

Some Turkish blues? :coolspecs:

asthmatic camel · Post by **asthmatic camel** » Tue Dec 22, 2020 8:39 am

Just to cheer you all up...

Witness · Post by **Witness** » Wed Dec 23, 2020 1:18 am

Witness · Post by **Witness** » Wed Jan 06, 2021 1:32 am

asthmatic camel · Post by **asthmatic camel** » Sun Jan 10, 2021 6:08 pm

Witness · Post by **Witness** » Tue Jan 12, 2021 4:08 am

First time I see an electric ney. :shock:

Anaxagoras · Post by **Anaxagoras** » Sun Jan 31, 2021 12:59 pm

Very cute girl just grooving to ZZ Top waiting for the bus.

Rob Lister · Post by **Rob Lister** » Sat Feb 27, 2021 11:25 am

Witness · Post by **Witness** » Mon Mar 01, 2021 3:27 am

↑ The build is fascinating but I don't really get what he wanted to achieve. Just the muffled sound?

It reminded me of harpsichords with a "lute stop" or the "Lautenwerk":

The double manual lautenwerck used in this performance was built by Anden Houben of
Tuscaloosa, AL in 1997. The instrument has 56 notes, GG to d3, on keyboards with ebony
covered naturals, bone topped sharps, and arcades of carved pearwood. The case is steam bent
poplar, and the soundboard is sitka spruce with a lute-style rose carved directly into the board.
The chinoiserie decoration was executed on a black ground by Pamela Gladding of Bloomsburg,
PA. Her botanically themed design covers the interior of the lid, the keywell, and jackrail, using
bronze powders, and gold and silver leaf in the 18th century manner.

The instrument is strung in a combination of silver-wound lute strings in the bass and tenor, and plain gut in the alto and treble, tied to the bridges. It is double strung GG to f#1, and single strung to d3. Both keyboards pluck the same strings, the upper closer to the nut producing a nasal contrast to the lower keyboard’s more fundamental tone. Stop levers protruding from above the keyboards allow the performer to engage and disengage the partial second choir of strings, pitched in octaves from GG to Bb, and in unison from B to f#1, and available only on the lower manual. Additionally, a buff stop can be engaged, playable from either manual. The lower manual also slides forward or back, engaging and disengaging the dampers, offering interesting performance possibilities that mimic the lute.