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Philip Glass: My problem is people don’t believe I write symphonies (2017)

theguardian.com

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Re: Philip Glass: My problem is people don’t believe I write symphonies (2017)

#181

Post by AndrewUnmuted »

Mediterraneo10 wrote: post #132
AndrewUnmuted wrote: post #43

Earlier quoted context omitted.

Steve* Reich. IMO, an excellent first listen would be Tehillim. [0] [0] https://www.youtube.com/watch?v=fiaTvR9sFX8

While a fine piece, Tehillim is by Reich’s own admission not very representative of his work.

That's kind of why I recommend it. One's first experience with a composer should be their most accessible work, IMO.

Those who have not heard Reich have not heard a lot of western art music, most likely. I went with the piece that is closest in form and style to the popular music of our time.

I apologize to other users here, for not having made that more clear in my post.

Re: Philip Glass: My problem is people don’t believe I write symphonies (2017)

#182

Post by runamok »

WickyNilliams wrote: post #172
dna_polymerase wrote: post #169

Earlier quoted context omitted.

It's also called frequency illusion or Baader–Meinhof phenomenon. https://en.wikipedia.org/wiki/Frequency_illusion

Once you learn about the Baader-Meinhoff Phenomenon you start noticing examples of it everywhere

Meta :-)

Re: Philip Glass: My problem is people don’t believe I write symphonies (2017)

#183

Post by JohnJamesRambo »

barbecue_sauce wrote: post #32
JohnJamesRambo wrote: post #26

I miss the documentary about Glass that used to be available on streaming. It's one of the few discs I plan to actually buy. I don't understand the business model of small films that withdraw from streaming completely, especially documentaries. Surely that can't be more profitable? I think about this question a lot while going through the dreck on Netflix and Amazon Prime. I think about all that work and knowledge an…

Why do you assume it's the owners of the small films that withdraw, and not the streaming services that drop them in order to redeploy funds to other content?

Hmm I never thought of that I guess. I wish it was like the Spotify model where everyone wants their film on the service and they are paid each time someone watches it.

Re: Philip Glass: My problem is people don’t believe I write symphonies (2017)

#184

Post by blankfrank »

mrlala wrote: post #173
nosianu wrote: post #168

Earlier quoted context omitted.

> Weird coincidence... Nothing weird at all. After I learned horse riding (focus: dressage) I started seeing horse-related stuff everywhere - horse carrying trailers on roads, shops, etc. The "secret" is not some deep universe related mystery but your perception. Those horse-related things were there all along - I just never paid attention, my mind filtered it without any of it ever reaching my consciousness. Your mi…

Oh god, the 'secret'.. You are making me think when my mom was obsessed with it, and she started to actively think of toasters (for whatever reason). There was an old school screensaver on probably a windows 2000ish computer that had the flying toasters she never noticed. She was CONVINCED the universe changed on her and made that screensaver out of thin air, instead of the simple notion that she was now consciously…

Perhaps Amiga’s flying toaster?

https://en.m.wikipedia.org/wiki/Video_Toaster

Re: Philip Glass: My problem is people don’t believe I write symphonies (2017)

#185

Post by phlakaton »

PaulDavisThe1st wrote: post #101
natechols wrote: post #89

Earlier quoted context omitted.

I'll add that to my playlist, but I'd argue that the difference between 12 minutes and 5 hours counts for a lot! (Although I guess maybe opera audiences are primed for sitting in place for that long? I just don't have the attention span for anything longer than Figaro.)

Scratch that then. Try out "Music in 12 Parts", which is about 4 hours long :) Glass' early minimalism makes EotB seem almost conventional by comparison, at least to me.

I agree with Glass in that I don't think minimalism is the best term for what Glass does. Call it postmodern, maybe.
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