By Rob Kapilow
Rob Kapilow has been supporting audiences listen extra in nice song for nearly two decades along with his What Makes It nice? sequence on NPR, at Lincoln middle, and in live performance halls during the US and Canada. during this publication, he grants a suite of instruments you should use whilst hearing any piece of track so one can pay attention its “plot”—its tale informed in notes.
The musical examples can be found loose for obtain that can assist you listen the tips awarded. even if you're an skilled concertgoer or a newcomer to classical track, the listening rules Kapilow stocks can assist you "get" track in a thrilling, clean new way.
"Kapilow will get audiences in song with classical tune at a deeper and extra fast point than lots of them notion possible."
—Los Angeles Times
"Rob Kapilow is very reliable at what he does. we'd like him."
—The Boston Globe
"A very good man who brings song alive!"
"Rob Kapilow leaps into the void dividing tune research from appreciation and fills it with exhilarating information and sensations."
—The manhattan Times
"You may well virtually see the sunshine bulbs happening above people's heads. . . . The viewers might decipher the tune in a brand new, deeper manner. It was once the complete contrary of passive listening."
—The Philadelphia Inquirer
Read Online or Download All You Have to Do is Listen: Music from the Inside Out PDF
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Additional info for All You Have to Do is Listen: Music from the Inside Out
Peripheries and interfaces 21 New music, such as the ten influential solos by the nationalist music reformer Liu Tianhua (1895–1932), took advantage of the new ease with which shifts of register could occur. These solos, which were set down in uncharacteristically detailed notation, demanded the use of new techniques (fingering with the tips of the fingers, for example, or violin-style vibrato), many of which were subsequently applied in the performance of existing traditional pieces. Reform of the erhu, then, led to the rise of new instruments and repertory, and also to the transformation of the instrument’s performance technique.
As already mentioned, Franklin (who comments that progressive ideologies of music have prevented adequate consideration of performance) structures his chapter round Tauber, depicting him as both agent and exemplar of a variety Introduction 13 of historical forces, and emphasizing the way in which Tauber’s activities cut across the perhaps over-confidently drawn boundary between modernism and conservatism. Other contributors present performance as simply an essential element in the circulation of the musical economy, whether the performance in question is of old music, new music, or music that is at the same time old and new – most obviously in the case of the ‘early music’ movement of the 1970s and 80s, in which (at least if you accept Richard Taruskin’s account17 ) music too ancient to have any surviving performance tradition was treated in a thoroughly modern style, resulting in new music for listeners who didn’t like new music.
The first propels it towards difference, to the maintenance (or retrospective establishment16 ) of that group’s distinct heritage; the second thrusts it towards similarity, towards assimilation of traits that signal not the past but the heterogeneous realities of the here and now. Two contrasting Jewish musical practices illustrate the transformation of musics under these forces. 17 Songs in this form set new Hebrew texts to existing (or adapted) melodies. In the early decades of the twentieth century, pizmon composers in Aleppo drew melodies from popular Arabic song, including the tunes of Egyptian singer Umm Kulth¯um.