tag:blogger.com,1999:blog-8827040061563065922.post6167036027157126730..comments2024-03-27T23:06:03.736-05:00Comments on The Music Salon: Stravinsky: Technique and Theory, part 2Bryan Townsendhttp://www.blogger.com/profile/09482696991279345516noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-8827040061563065922.post-42382770068625367982017-08-02T07:16:22.575-05:002017-08-02T07:16:22.575-05:00Congratulations on your new instrument! I think yo...Congratulations on your new instrument! I think you are a bit of a hero of mine as someone who pursues aesthetic goals entirely out of passion.Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-11715552127371135652017-08-01T21:48:14.007-05:002017-08-01T21:48:14.007-05:00Well "following" might be too strong a w...Well "following" might be too strong a word to describe my reading here, but I am reading these posts on technical analysis of harmonies in Stravinsky and Rimsky-Korsakov, composers I know and love. Bryan these articles provide a nice "over my head but reaching high" upper echelon of where it all leads as I simultaneously take free Coursera courses on music theory, and in these past few days I'm learning some rudiments about functional harmony in terms of building and resolving tension. Now that I have just got my new lira da braccio, a renaissance-era instrument mostly for chordal improvisations to accompany the singing of poetry, I finally intend to make a half-serious (I do work full time and have a son to raise) study of chords and harmony and modal composition so I can start playing that lira to sung melodies I make up for poems of mine own hand and of 16th and 17th century poets.Will Wilkinhttps://www.blogger.com/profile/01997868915978439364noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-52820453275480975062017-07-31T06:42:35.186-05:002017-07-31T06:42:35.186-05:00Jives, thanks so much for the comment. I know that...Jives, thanks so much for the comment. I know that these Stravinsky posts are getting rather technical and I'm glad that some are following them.Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-36089876127246544872017-07-31T00:51:49.856-05:002017-07-31T00:51:49.856-05:00For him it was a bulwark against the "sea of ...For him it was a bulwark against the "sea of decadence" that he saw in the wayward chromaticism of, for example, French music--he called this "d'Indism."<br /><br />Ha! Now that is a deep cut, Rimsky Korsakov takes exception to the chromaticism of D'Indy!! I love it, what a villain! I regularly play with a string sextet, and D'Indy is one of those handful of composers who saw fit to write one. We haven't read it yet, but I may have to press the issue. <br /><br />thank you for the informative post, I note how along with the innovations, the composers immediately recognize that emphasis on coloristic harmonies involves a loosening of the functional aspect. Jiveshttps://www.blogger.com/profile/02430049896063808671noreply@blogger.com