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File: 31 KB, 210x210, khachaturian-dvd.jpg [Show reposts] Image reverse search: [iqdb] [google]
 >>44901213
I'm biased because she has a Russian name, but yeah... she sings well, and is cute enough, if you like a bit of abundant bosom.
>>44900501
I don't think his orchestration is bad, I also listened to La Mer recently, and thoroughly enjoyed it! (Admittedly I didn't make it all the way through...)
>>44900924
Fugues are essentially pretty lifeless, being governed by the principal melody. But I think Bach keeps it pretty interesting, and manages to make you feel something, even if that feeling is "I'm listening to a fugue"
What do you guys think of Aram Khachaturian?
I found this piece pretty bold and meaty:
http://www.youtube.com/watch?v=_JlGS1m1PL4
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| >> | No.44903075
>Pointing out ‘how insistently “queer” medieval Christianity can be’, Holsinger (1993: 120) suggests that ‘rather than looking for “actual” lesbians and gay men in the Middle Ages, why not try outing medieval devotion itself?’ Turning to organum, he explores the writings that constantly represent polyphonic practice in corporeal terms as ‘coupling’ (copula), and in relational terms as the product of their male singers. Such rhetoric, he suggests, not only explains the constant link between sodomy and polyphony in the puritan tradition, but uncovers a queerness at the very heart of organum that is also represented in some homoerotic verses of its leading composer, Leoninus (Holsinger 2001, chapter 4). Ironically, then, the polyphony and harmony that differentiate Western music most notably from that of other cultures was from the start connected to same-sex desire, and ‘art music’ originally fell into disrepute through roughly the same association that it has been trying so hard to avoid in the 20th century.
>Furthermore, since sexual orthodoxy can never be assumed, especially among musicians, the constant parade of heroism and masculinity in the repertory from Beethoven to Strauss, and its representation in criticism and scholarship, begins to look more and more like a ruse to divert attention from an endemic queerness so firmly repressed that even to suggest it is an unpardonable error of taste and judgment (as in the cases of Beethoven, Schumann, and Brahms).
Why is this allowed?
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