There are names on that list I’ve never even come across. I need to spend more time with Bartok, he is the epitome of cool. Some might argue cultural appropriation, but it was his culture transformed into something else. And his notes and field recordings still exist!
I’m torn between adding my name to the list of fandoms already praised–Doctor Who and Star Trek–and offering a couple of my more unusual ones–old horror/monster films, particularly Roger Corman and anything done by Harryhausen or with Vincent Price in it–and the original Twilight Zone.
It kinda pains me that I have to specify the original Twilight Zone although the reboots did some good things.
And billiards. On those extremely rare occasions when ESPN or another sports network broadcasts billiards matches–usually in December–I’m glued to the TV.
If you’re ever in Nashville I’ll buy you a pint. Or several. Or we can take the Yazoo Brewery tour. It’s not much–less than an hour and a half even when they’re stretching it–but you get a commemorative glass and several samples.
Robin Hobb! She’s one of the few authors I read in my youth whose work, when I came back to it 20 years later, made me feel even deeper appreciation (rather than the usual mix of nostalgia and embarrassment)
But… But… He appropriated from the Slovaks! And the Romanians! And the Bulgarians! And the Arabs in Basra!
More seriously, Bartók was one of the very first truly professional ethnomusicologists, he was extremely good at encouraging a pride in indigenous music-making in other nationalities, and he used his materials with great individuality and sophistication. Great composers steal like magpies. By the time they have finished stealing, though, the materials have become theirs entirely.
I’ll add that I was very good at limiting the list: I could have added quite a few more musicians I’m very fond of (probably starting with Prokofiev).
Off topic a bit: Can you have a look at this (over in the crafting thread) and tell me what you think? I’ve not got a lot of feedback yet, and I’m still in the “Have I done something good, or have I perpetrated a crime?” stage of things. If there is even a whiff of the latter, please let me know where you are catching the whiff, because this is also the “Better revise!” stage.
I liked it. I mean that in both ways since we have a Like function here. lol It’s kind of hard to say more with it being in a … quantized state? Music like that needs the human element to really … get. At least for me.
The canzona takes chances in places i didn’t expect. the part with the two trills in the first third got my ears primed for a late 1700’s motif, but then didn’t i hear either fourths in two voices and shortly thereafter a number of half step chords. i’ve only listened once, but didn’t i hear expositions of the initial melody repeated in a fugue like manner?
play it faster. the surprises are musical flavor, and i think they would be better suited as fleeting and exciting. i’d like to hear this played at a tempo closer to Fugue in D minor, BWV 538, as opposed to the little fugue.
but seriously, you have a hell of a lot of both talent, dedication, practice, and domain expertise.
Not too long ago I discovered that Channel 261 on my cable box is Comet TV which has been showing a Vincent Price flick every Saturday for I don’t know how long, in addition to a variety of other goodies. It’s the closest thing to a UHF station I’ve found since the last lingering local one became a Fox affiliate back in the '90’s.
I’m seriously tempted to contact them about fulfilling my childhood dream of becoming a horror host.
Thank you. It is actually a double fugue with a few extra contrapuntal fillips: the subject of the second section is accompanied at the beginning with an augmented faburden of the first subject (this is “faburden” in the Tudor (Henrician) organists’ sense, wherein the organist derives a new subject by harmonising the original subject in faburden, and then taking the bass of the harmonisation); and the beginning of the third section not only combines the two subjects, but sets them with an augmented inversion of the first subject in the bass. There is also the usual assortment of stretti, and the second section features a recurring countersubject. However…
…if I’ve done my job properly, you shouldn’t notice any of that. I’m not averse to a certain contrapuntal virtuosity, but I prefer that it not detract from the Affekt of the piece, which, in this case, I see as mainly contemplative and melancholy, verging on tragic near the end (hence the accelerando). If someone wants to “Gould” the tempi, I can’t very well stop him/her, but I will get on his/her case if it doesn’t work.
Books: Star Wars Expanded Universe, LOTR, Dragaera, Dresden Files, Discworld.
Webcomics: Order of the Stick, MS Paint Adventures, Erfworld, Girl Genius
TV: Gargoyles, ReBoot, Firefly, Chuck, Galactica (the RDM version), Person of Interest
Movies: the MCU, Hancock, Unbreakable, Dr. Horrible’s Sing-Along Blog, the Incredibles.
I love Vincent Price. My definition of fandom was probably too narrow, because I was excited to see his name in your comment, and that means I must be a fan.
Vincent Price, for sure, but that brings me to Old Time Radio, I guess that’s a fandom. The Saint, with Vincent Price, is a favorite. But, I also love Johnny Dollar, X Minus One, all the various Sherlock Holmes shows, and the few BBC Radio Doctor Who episodes I’ve heard are also great.
One thing about old time radio, though, is that I have to turn on this filter in my mind so that every sexist or racist bit of bullshit doesn’t pull me out of the story. It’s also necessary for golden age sci-fi. (EDIT: But it wasn’t strong enough to let me read Lovecraft, though perhaps I should try again.)
Plus, I also love Twilight Zone, but I’ve only watched the series a couple of times, so I’m a newb fan, I think.
I was so pissed off that Disney took so long to release Season 2 Volume 2. Now I can rest happy, since I now own Season 1 and both halves of Season 2 on DVD (I can live without Season 3).
It’s just too bad that they half-assed it and didn’t release any special features on S2V2 like they had in S1 and S2V1. But, whatever. I’m not going to complain about them actually doing what I wanted them to do.
If you had missed it, I wouldn’t have thought your ears were lacking - it does make a good discreet bass with a measured harmonic rhythm right where I needed one. The faburden subject serves a similar purpose, and the nature of the derivation ensures that it fits harmonically, but it’s so esoteric a procedure that I don’t expect anyone to pick up on it without being told that it’s there. My counterpoint is a bit unlike Bach’s in that the “cleverest” strokes aren’t meant to stand out; they’re there to unify the texture.