arete1952

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About arete1952

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    James Worth
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  1. Not that anyone asked me so I hope no one minds if I sound off... I like the Beatles very much but do not enjoy any of the above songs 'immensely'. In fact I intensely dislike 'I am the Walrus' and 'Helter Skelter' and would never dream of recommending them. 'Hey Jude' bores me silly...I can't say I dislike it as much as the previous two but if I never heard it again that would be fine with me. The others are fine songs to varying degrees but not among my favorites. But then I am something of anomaly as a Beatles fan in that I like the early and middle stuff best...there is not much post-Rev
  2. Michael: I have no interest in Spears' music...or Zappa's for that matter...my tastes run more along the lines of Palestrina, Monterverdi, Bach, Haydn, Beethoven, Wagner, Mahler, Stravinsky, Vaughan Williams, Copland, Corigliano, Rouse...as I say in my Personal Statement: "Life is too short to spend time listening to bad music." Ken
  3. Greetings Michael: So I guess I should be listening to Ms. Spears and others of her ilk since her/their numbers are in the multi-millions(?) Do you really want to use a variant on the old chestnut 'Forty million Frenchmen can't be wrong' as an argument in defense of Zappa? Best regards, Ken
  4. 1. The correct spelling is 'Copland'. 2. Composition-wise, Copland was light years above and beyond Zappa. Best regards, Ken
  5. In response to various posts regarding how we may value some music based on the result of associations, I believe the 'association' factor is very important. I listen primarily (95% of my listening time) to Western art music (aka classical music). The popular music to which I listen is from the 60s and early 70s, i.e, music I grew up with. What is essential, I think, is for people to be objective and realize the vast qualitative difference between the art and popular music and, if one enjoys popular music, accept it for what it is: entertainment not art. It is the musical equivalent of fast
  6. So the validity of Willis' assertions is determined by his abilities as a composer? Argumentum ad hominem...and on an Objectivist forum yet. BIG YAWN... Best, Ken
  7. I respectfully disagree...you really think that their music is comparable to that of Bach, Haydn, Beethoven, Schubert, etc.???? Their music has very little presence on the programs of major and not-so-major orchestras in this country and around the world...their impact on classical orchestral music is practically non-existent. I do agree with your statement about the precarious state of classical music though.
  8. Dragonfly: Western art music (aka classical music) is my great passion...it is incomparable music--the greatest music ever created. That doesn't prevent me from enjoying some pop and rock (some, not much). What is essential, I think, is to OBJECTIVE and realize the vast qualitative difference between the art and popular music and, if one enjoys popular music, accept it for what it is: entertainment not art. It is the musical equivalent of fast food: at its best it can be tasty and enjoyable to consume, but there really isn't much, if any, 'nutritional' value there. What I get out of the pop
  9. What are these standards? Who created them? How were they created?
  10. Greetings all: Some months ago, over on the Objectivism Online site, I posted this link: http://www.unconservatory.org/articles/smartpeople.html which generated some very interesting and, ahem, passionate responses. Best to all, Ken
  11. I will have to 'fess up...it was I who posted that "Why Do So Many Smart People Listen to Such Terrible Music?" link over on ObjectivismOnline. And I must say it caused quite a brouhaha. For those that are interested here is the link: http://www.unconservatory.org/articles/smartpeople.html And, yes, on the main point of the article, I agree with author completely. Best to all, Ken
  12. Impossible for me to select one, but some of my favorites are: Machaut: Notre Dame Mass Ockeghem: Missa Mi-mi Byrd: Mass for Three Voices Monteverdi: L’Orfeo, Beatus vir J.S. Bach: Art of the Fugue, Brandenburg Concertos Haydn: Symphonies 22,46,60,63,77; Cello Concertos in C and D Beethoven: Symphonies; Piano Concertos #4 and #5; late string quartets, Violin Concerto Schubert: Symphonies #5 and #9, String Quintet in C; Rosemunde Mendelssohn: Octet for Strings, incidental music for Midsummer's Night Dream Dvorak: Slavonic Dances, Opp. 46 and 72; Legends, Op.59; Serenade for Strings Vaughan Will