Cool story
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Nerve
Record Collector
I fucking hate it when prefrosh invade my campus...they always cut in front of me in line in my schools cafeteria
Corny
Member
Lady_Laiho
Dark Divinity
Ya-yow!!!! That's fuckin awsome!!!! That's the cooolest thing i'v ever heard. How'd that kid's dad get to interview them?!!!!!!!!! Why can't i interview them?!
666laiho_4evacobhc
The office is clothes.
Because he is the head of the music department at a college that is affiliated with one of the best music schools in the world
Written by a twelve year old
Notes to the listener:
In this CD I chose to exhibit two works that share structural form and the 6/8 time signature. You will hear East European articulations in the Quintet and echo’s of American Folk music in the Symphony. I pay homage to the music of Leonard Bernstein, Béla Bartók, and Igor Stravinsky along with jazz and other forms of popular music as inspirational guides.
The Symphony #5 is a large-scaled work in four movements. Its overall form is traditional, a standard first movement, scherzo, slow movement, and finale, forming a miniature checkerboard of slow/tragic – fast/jovial movements. The first movement is an Allegro painted in broad brush-strokes and featuring several lyrical melodies and tunes; the first group alone contains no fewer than four distinct and separate elements, a fifth added in the second group, all of which are combined in the codetta section. In this extended sonata-form, the movement fades into silence and nothingness, paving the way for the jovial combination of orchestral blues and tarantella-like dances which form the scherzo that rises out of the same void.
Following the scherzo is a long, mysterious slow movement, the Lento quasi fantasia.
The Fantasia was the last movement to be completed, excluding a few minor technical revisions to the Finale; it is also the most structurally perfect movement in the piece, as it follows a mathematical function, y = 1/x2. The graph of this function is based around the asymptotes of the x- and y-axes; from very close to, but still not quite, zero, it ascends slowly but steadily between the integers of x = 1 and x = 0 to almost touch the y-axis, which it once again fails to reach; this is mirrored across the axis.
While rooted in mathematics, the music strives to elicit emotion; I tried to illuminate the natural beauty of geometry and mathematics; music as a language is capable of expressing both logic (rationality) and emotion (irrationality). This third movement springs from a great well of silence, ascends to a climax it never quite reaches, and then descends once more into quiet – true silence never completely attained. The movement’s form is based on two major themes, a long flute melody and a wind chorale. The themes intertwine in a fugal section culminating in a dramatic climax that fails to resolve. Instead it simply dies away into the tolling of bells as muted strings intone the chorale in the highest register. The chorale has an eerie premonition of the corresponding passage at the end of the entire piece.
Barely before the last chord has died away, the whirlwind finale descends upon us, heralded by brass fanfares. The plethora of runs, scales, arpeggios, and other forms of virtuosic energy comprises the first fifty bars in the first minute of music, during which five different motifs emerge, all of them rapidly coming into prominence, reworked into tapestries of sound and color of the movement. The symphony concludes with a restatement of the chorale tune of the previous movement, fully orchestrated and under the continuing perpetual motion of the woodwinds and strings.
The Quintet shares the overall harmonic and thematic structure of the symphony. Like the first movement of the Symphony, its opening Adagio begins and ends quietly, filled with impassioned drama and featuring a pair of lyrical melodies. The harmony is worlds apart, however: compact and tightly woven, exploring a dense jungle of string writing including overtones, harmonics, and mutes. This was among my first forays into the world of pan tonality, or music with no definite tonal center or established scale.
The second movement is a rhythmically complex scherzo, featuring flighty melodies, pizzicatos, and repeated grace notes that put large amounts of strain upon violists’ fingers; its harmonic fluctuations keep a sense of perpetual motion and restlessness throughout the movement. The finale is a fugal perpetuum mobile, drawing on a wealth of harmonic and rhythmic material as well as string effects to bring the work to a rousing conclusion.
The Quintet describes the three facets of the human psyche according to Freudian theory: the superego, or conscience that restrains the rest of the piece (the Adagio); the ego, in touch with reality, and fulfilling the old adage that “to those who feel, life is a tragedy; to those who think, it’s a comedy” (the scherzo); and the id—the impulsive and instinctual, unconscious and ultimately most gratifying (the Prestissimo).I didn’t actually realize this semi-programmatic facet of the Quintet until after I completed the work.
In these efforts I wish to acknowledge a large number of people without whom this project would not have been possible: my parents, my grandmother’s cat, who first taught me that one must look backwards into the past to go forwards into the future; my management at IMG; David Lai, who spearheaded the operation and had trust in the music which he had never heard before; José Serebrier, for looking through the score of the Fifth Symphony and correcting all of its typos; the LSO and JSQ, without whom we would not be listening to anything at all as we undoubtedly read this; Leon Constantiner, for donating the computer with which the score was written; and my teachers Sam Zyman for believing in me, Sam Adler for teaching me, and Antony John for giving me feedback on my music.
People at any age could enjoy COB
Don't tell me you are serious. That's not a brain activity of a 12-year-old.
EDIT: just read more of that shit, and I have to say if it's true, may the kid become President.
Corny
Member
and you obviously didn't understand me.
Enjoying music or hating it is not a question of intelligence, which doesn't mean that you aren't right with this retarded-thing...
it is real and fully possible. ever heard of mozart?
yeah, bill clinton did rock the sax pretty hard
that's an overgeneralization.
you can say that most 11 year olds wouldn't be able to appreciate bodom, but that's definitely not true for everyone.
Corny
Member
An 11 year old can LIKE the music. Do you want to argue this?
Plus: CoB is pretty straight rock - It's not free jazz or something. It is absolutely not necessery to think about the songs to "comprehend" them.
As my brother was 11 years old, he grabbed my Dream Theater CDs (and please believe me, he's NOT a "wonder-child"
)
Ben Johnson
SSSSSSSSSSSSSS
I think that all human beings are capable of "hearing symphonies" in their head. It's just a matter of filtering out everything that gets in the way of that music. Some have a greater natural ability to focus on the music than others, but this "hearing skill" can be refined and perfected with practice. If we have such ease writing our thoughts in words, why not be able to write just as easily with notes on a staff?
Here are a couple concertos I wrote based on the music "I heard in my head."
Free Mp3 Hosting, Free Music Hosting, Dj Sets, Free Music Downloads, Music Forums, More...
Free Mp3 Hosting, Free Music Hosting, Dj Sets, Free Music Downloads, Music Forums, More...
Lady_Laiho
Dark Divinity
Yes, people at any age can like COB. If the music sounds good, then they'll listen to it. If it doesn't sound good to them, then they won't listen to it. It just depends what kind of stuff they like.
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