BC MUSIC
Saved by @Alex1Powell

"Music, Sense and Nonsense: Collected Essays and Lectures", por Alfred Brendel.

Capítulo: “Conversations - Talking to Brendel with Jeremy

 Ya casi llegamos al final de este maravilloso libro. En esta sección, Brendel comparte varias entrevistas. La primera de ellas fue en 1972 con Jeremy Siepmann, músico, locutor, articulista y autor de varios libros sobre música.
Si bien después de 377 hojas ya tenemos una buena idea sobre las opiniones de de Brendel sobre la música y el quehacer musical, en esta entrevista revela varios puntos de vista.
Sobre si disfruta interpretar música, Brendel responde que sí, sobre todo en los últimos años, “when I’ve had the impression that much of what I do comes across. Of course, one very rarely knows if the right things come across)”.
Sobre si los intérpretes existen para vincular al compositor con el público, Brendel afirma que le interesa más la relación del intérprete con el compositor que con el público: “What fascinates me is to make sense of a piece of music while it sounds”.
Sobre si el intérprete debería “educar” a su público, Brendel considera que se debe hacer clarificar la pieza lo más posible. Pero si el público siente que el intérprete quiere educarlo, el caso está perdido. Si se quiere educar al público, este no debe siquiera darse cuenta.
Sobre si el análisis musical tiene algún valor al intérprete, si bien es necesario tener un sólido conocimiento musical, el intérprete no debe considerar el análisis musical como la llave al tipo de intuición que permite una gran interpretación.
“It was Schoenberg who said, in a letter, that formal analysis is often overrated because it shows how something is done, not what is done. This, from one of the supreme analysts, is something valuable, I think”.
Sobre si la música grabada y en vivo requieren ser escuchadas distintamente, Brendel considera que si bien existen ciertas diferencias básicas, en su caso mientras más progresaba en sus grabaciones, más trataba de tocar como si estuviera en un concierto ante un público.
“Many more concerts should be recorded and issued on disc, with all their imperfections and coughing and so on. As far as piano recordings are concerned, the over-refinement of our tools nowadays seems sometimes to be a disadvantage.”
Sobre si la gesticulación al interpretar tiene alguna función musical, Brendel considera sí la tiene. Cuando se vio en televisión por primera vez, se dio cuenta que sus gestos contradecían completamente lo que hacía y lo que quería hacer musicalmente.
“I then had a mirror made, a big standing mirror, which I put beside the piano, not really making me visible all the time, but always there; unconsciously, one noticed things. It helped me to co-ordinate what I wanted to suggest with my movements with what really come out”.
Sobre la relación con sus grabaciones, Brendel considera que son “a kind of offspring of which one can’t, unfortunately, say that one has to nurse them until they grow up and then forget them as soon as possible and let them lead their own live…
They lead their own lives at once, and are scarcely ever grown up! There’s always something infantile about a record, al least as far as the artist is concerned. Records are interesting to learn from but not always to enjoy”.
Sobre el escribir sobre música, Brendel considera que no se debe ser arrogante: “That may seem very irrelevant, but I think it’s very important. If one decides to talk about something as elusive as music…
… something which is so difficult to grasp in words without talking nonsense all the time and being imprecise to an enormous degree, and personal to a degree which is no use to anyone, then one has to be modest about it”.
Sobre intérpretes que intentan ser originales distorsionando lo que el compositor indica en la partitura, Brendel considera que es una tontería. “If one sheds new light on music, it should be the outcome of an effort, not the input!”
Sobre si ha considerado dirigir, si bien Brendel se interesa por la dirección y sus técnicas, e incluso se imagina a sí mismo dirigiendo, nunca lo haría: “I think I would be too shy to attempt to impose something on an orchestra without being completely professional”.
Sobre si pudiera cambiar algo en su vida profesional: "I don't know. So far I don't feel at all exploited. I play a lot, though not as much as some other people, but I play because I like it. I have a lot of other interests, of course for which time will always be too short".
@threadreaderapp unroll

More from Music

Mr. Charles Isidi
Mr. Charles Isidi
@TheCharlesIsidi
I think Frank Edwards needs to hire a team to do major work sanitising and building a better digital experience for his music, his digital trail and everything else in between

I say this out of need to the larger lesson to creatives, i'd hate to restrict this to Christians alone

I love Frank Edwards, his songs form a huge part of my morning worship routine. But for the past two weeks, I've been looking for a song that I used to play a lot in my first/second year of uni and couldn't find it until I searched a random part of the lyrics and went as far as..

The 6th page on Google search. Yes, that's how badly I wanted it.

Even when I found the name of the song, the song was available as a lyric video on YouTube and published by someone entirely different from who I wanted to give streaming dollars to, that's if it counts for much.

Hit another bump. I want to subscribe, and I realise there's over 11 Frank Edwards on YouTube. Each with huge and growing subscriber numbers, that was worrying.

It was not until this morning I found one with 250k subscribers and I thought... Ah this has to be him.

I search on Google for Frank Edwards and his entire discography isn't listed on Google and it in fact worried me.

Now I am moving to upset because this is someone I love deeply and hate to see how there's so much low hanging fruit that he isn't taking advantage of.
MUSIC
Sourabh Sisodiya, CFA
Sourabh Sisodiya, CFA
@sourabhsiso19
One of all time favourite motivational song & I listen to it almost daily😊

Underrated song but a true nasterpiece with amazing lyrics & music👌🏻

https://t.co/Omhz4gyJqI

Let me know if you had heard this song before & how did you find it!

#music #inspiring
MUSIC
Advertisement
Howard Goodall
Howard Goodall
@Howard_Goodall
I'd like to say a few things in tribute to the brilliant musical director & vocal coach Kate Young, who died far too young last week. Even fellow musical theatre folk may not know what a trail-blazing talent she was, so here's my story of Kate (thread)/1

I first met Kate at a rehearsal for Wayne Sleep's 1983 touring dance show DASH, for which I was composer. What struck me first about her (apart from the poetic lilt of her warm, Edinburgh accent) was the impeccable care she was taking playing piano for dance rehearsals /2


(believe me, & I mean no disrespect to lovely dancers & choreographers but playing piano for dance sessions isn't called REPETITEUR for nothing and many repetiteurs switch to auto-pilot at the keys. Kate never did. Her playing was always immaculate)/3

We hit it off immediately & had long, ranty discussions about how we wanted to change musical theatre, like young people do. We had specific aims to do with the way singing was taught & shaped for the stage. /4

We wanted the singing to be much more text & meaning-focused, for actors to have the confidence to sing as well as trained singers & for the sound to be more nuanced, more plural in style & less belty & samey (tbh not sure we won that battle..) /5
MUSIC
Julieta Ovalle
Julieta Ovalle
@julietaovallep
"Music, Sense and Nonsense: Collected Essays and Lectures", por Alfred Brendel.

Capítulo: “Conversations - Bach and the Piano with Terry

En 1976 Terry Snow entrevistó a Alfred Brendel sobre sus puntos de vista acerca de la obra de Bach para teclado, la cual hasta ese entonces Brendel había evitado ejecutar en sus conciertos.


Brendel cambió de opinión en esa época. Al haber sido alumno de Edwin Fischer, quien transmitía la música de Bach de una manera única y con poderosa autoridad, le tomó tiempo considerar que estaba listo para abordar a Bach en sus propios

En un principio, Brendel no se sentía muy convencido por las ejecuciones “históricas”. Sin embargo, para él la obra de Bach es menos dependiente de los instrumentos contemporáneos que la de Monteverdi, Domenico Scarlatti, Purcell, Rameau y Couperin.


Entre las ventajas de interpretar las obras para teclado de Bach en piano, Brendel considera el hecho de que este es más adecuado para las salas de concierto modernas. Además, para Brendel dichas obras están llenas de posibilidades
MUSIC
Julieta Ovalle
Julieta Ovalle
@julietaovallep
"Music, Sense and Nonsense: Collected Essays and Lectures", por Alfred Brendel.

Capítulo: “Conversations - On Schnabel and Interpretation with Konrad

En esta conversación de 1979, Alfred Brendel y Konrad Wolff, autor de “The Teaching of Artur Schnabel. A Guide to Interpretation”, discuten sobre ciertos puntos en los que Brendel no coincide con Schnabel.


Para Wolff, Brendel es el primer pianista desde Schnabel que ha gozado de plena autoridad en la interpretación de Mozart, Beethoven y Schubert. Además, en su opinión, su enfoque tiene mucho en común con el de Schnabel en los detalles de fraseo, tempo y dinámicas.


Sin embargo, hay varias opiniones en las que Brendel difiere de Schnabel. Para Brendel, las frases son como curvas que no necesariamente se miden por compases: “Very often for me the art of phrasing consists in forgetting about bars, ignoring bars and seeing large units”.


Por su parte, de acuerdo a Wolff, Schnabel veía las frases en función de la respiración y del énfasis al principio o al final: “he wanted to know how far he was to play before there was a breath (…), a phrase begins and then goes from there, or else it ends and goes to there”.
MUSIC

You May Also Like

Anu Satheesh \U0001f1ee\U0001f1f3
Anu Satheesh 🇮🇳...
@AnuSatheesh5
Yoga Ramar Temple
#Nedungunam
#TamilNaduTemples 🚩

Yoga Ramar Temple is located near Thiruvannamalai. Shri Rama is seated with eyes closed, without any weapons. Mata Sita  pointing to the feet of Rama telling that  everyone is safe at his feet. Lakshmana standing near Shri Rama


Hanuman is seen chanting Vedas obediently sitting before Shri Rama.

Sthala Puranam says that, Sukabrahma Maharishi had been doing Tapasya here, for the darshan of Sri Rama. Prabhu Shri Ram, pleased with his tapasya, came here after Rama Ravana yudham. Since Rama was returning


after the war, he did not have any weapons with him.

Another gopuram called Kili Gopuram is there for Sukabrahma Maharishi. There is a hill nearby called Dheergachala. According to Sthala puranam, Sri Padham of Prabhu Rama are found on the top of the hill


It is said that this is the place where Shri Rama gave darshan to Suka Maharishi. Nedumgunam means which shows all qualities of Shri Rama who is Maryadha purushottam. Shri Ramanavami is very famous here.

Jai Sri Ram
🙏🕉🙏
ALL
Sam
Sam
@SamKhan999
This day was inevitable. Indian Muslims always lived in La La Land. They bad mouthed real well wishers & slept with the enemy who never considered them as part of them. In Gulf, Indian Muslims were busy with Javed Akhtar & Sonu Nigam. Never interacted with South Asian diaspora

Now when Indian Muslims are thrown to wolves it’s Pakistani & Bangladeshi Muslims with whom they kept distance are the only ones feeling their pain. None of the people who they invited for Eid Milan. Qawali & Mushaira are there for them. Such people invoke wrath upon themselves

Indian Muslims never spoke for Kashmiri Muslims. Distancing from separatist was understandable but we never even bothered to highlight their human rights violation & rapes carried out by forces. We could have sent them humanitarian help we didn’t. Our silence made us complicit.

When Sania Mirza married Shoaib Malik it was something legal. A Muslim married another Muslim. Entire Hindutva media went after her. They launched a witch-hunt for months. No Indian Muslim stood by her. All were silent. Now days come when Muslims are arrested for marrying a Hindu

Indian Muslims particularly the elite downplayed communalism in India by saying it will pass or Hindu majority is good. Fringe are bad. They misguiding others. Muslims were always others. Indians were happy to see Muslims sing & dance & eat their food but never considered as own
INDIA
Advertisement
Erik Torenberg
Erik Torenberg
@eriktorenberg
1/ Some initial thoughts on personal moats:

Like company moats, your personal moat should be a competitive advantage that is not only durable—it should also compound over time.

Characteristics of a personal moat below:


2/ Like a company moat, you want to build career capital while you sleep.

As Andrew Chen noted:


3/ You don’t want to build a competitive advantage that is fleeting or that will get commoditized

Things that might get commoditized over time (some longer than


4/ Before the arrival of recorded music, what used to be scarce was the actual music itself — required an in-person artist.

After recorded music, the music itself became abundant and what became scarce was curation, distribution, and self space.

5/ Similarly, in careers, what used to be (more) scarce were things like ideas, money, and exclusive relationships.

In the internet economy, what has become scarce are things like specific knowledge, rare & valuable skills, and great reputations.
LIFE
Roger Grosse
Roger Grosse
@RogerGrosse
Important paper from Google on large batch optimization. They do impressively careful experiments measuring # iterations needed to achieve target validation error at various batch sizes. The main "surprise" is the lack of surprises. [thread]

https://t.co/7QIx5CFdfJ


The paper is a good example of lots of elements of good experimental design. They validate their metric by showing lots of variants give consistent results. They tune hyperparamters separately for each condition, check that optimum isn't at the endpoints, and measure sensitivity.

They have separate experiments where the hold fixed # iterations and # epochs, which (as they explain) measure very different things. They avoid confounds, such as batch norm's artificial dependence between batch size and regularization strength.

When the experiments are done carefully enough, the results are remarkably consistent between different datasets and architectures. Qualitatively, MNIST behaves just like ImageNet.

Importantly, they don't find any evidence for a "sharp/flat optima" effect whereby better optimization leads to worse final results. They have a good discussion of experimental artifacts/confounds in past papers where such effects were reported.
MACHINE LEARNING
Billy Bostickson \U0001f3f4\U0001f441&\U0001f441 \U0001f193
Billy Bostickson 🏴👁&👁 ...
@BillyBostickson
1. Project 1742 (EcoHealth/DTRA)
Risks of bat-borne zoonotic diseases in Western Asia

Duration: 24/10/2018-23 /10/2019

Funding: $71,500
@dgaytandzhieva
https://t.co/680CdD8uug


2. Bat Virus Database
Access to the database is limited only to those scientists participating in our ‘Bats and Coronaviruses’ project
Our intention is to eventually open up this database to the larger scientific community
https://t.co/mPn7b9HM48


3. EcoHealth Alliance & DTRA Asking for Trouble
One Health research project focused on characterizing bat diversity, bat coronavirus diversity and the risk of bat-borne zoonotic disease emergence in the region.
https://t.co/u6aUeWBGEN


4. Phelps, Olival, Epstein, Karesh - EcoHealth/DTRA


5, Methods and Expected Outcomes
(Unexpected Outcome = New Coronavirus Pandemic)
ALL