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#music theory

100 days of productivity - 86/100

More notes for tutoring. This is basically my plan for the next few weeks. I had a prof who said that “teaching first year theory is just about controlling the lies,” and I’m seeing what he means… I’m about to tell my student that the thing she was absolutely not allowed to do when we originally learned about pivot chords is now perfectly acceptable. 😃

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- Con el tiempo, se fue aceptando de a poco el hecho de que se interpretaran los cantos a varias voces, pero se establecieron reglas y principios. El intervalo aceptado por excelencia era la cuarta y la quinta justa, a la par de la octava y el unísono. Esto son las consonancias perfectas. A partir de ahí se empezó a dar importancia a la belleza de la música, pues si era bello, era bueno y si era bueno, evocaba a Dios.

Over time, it gradually became accepted that songs were interpreted into multiple voices, but rules and principles were established. The accepted interval par excellence was the fourth and perfect fifth, on a par with the octave and the unison. This is the perfect tune. From there, importance began to be given to the beauty of music, because if it was beautiful, it was good, and if it was good, it evoked God.

- It’s the same in the art of the Renaissance, so that’s memorable to me. Because of Plato, the revival of classical learning in Italy and the attention given to Socrates’ theory of the forms: what is beautiful leads us to understand what Beauty and Goodness are, of which the ultimate source is the Divine. Catholics during the Renaissance began to believe that Greek philosophers like Plato, Aristotle, Socrates etc were so wise that they must have been prophets, they must have received divine wisdom from God. They just couldn’t be Christians, because they lived before the birth of Christ. This philosophy of the arts would hold sway until the end of the classicizing tradition, at the beginning of the 20th century. 

Josquin des Prez, “Qui habitat,” motet for 24 voices

Handel: Messiah / Part 2 - “All they that see him… He trusted in God”

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finished my ap theory exam yesterday with so much confidence only to have to retake it in june bcs one of my files was “corrupt” ….  at least ill get another chance to check my tendency tones for my part writing  :)))))  

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i was just thinking about “on track” and I noticed that in the cover hyunjin and minho are looking to the girl but I.N is looking to Hyunjin, I really think he has a crush on Hyunjin,I would really love that (especially cause I.N is the most panicked)

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This is a piece I’ve worked on for a really long time. It started out as a men’s choir piece, then I rearranged it for chamber orchestra, then expanded that to this full symphonic arrangement. It’s really heavily inspired by Pärt Uusberg, an Estonian choral composer that I absolutely love. 

Beyond that it’s inspired by things I saw in Eastern Europe (dusty cathedrals, pastoral landscapes, etc.)

I tried to focus on harmonizing by branching of from a shared starting note, so laterally the lines grow out of each other like a tree.

Thanks for listening :) let me know what you think!

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Can someone who knows something about music explain to me, someone who does not know anything about music, why neoclassical music sounds so different than classical music?

Or more accurately, I think they sound really similar consciously, but I really don’t like classical music but I love neoclassical?

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