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Klarinet Archive - Posting 000255.txt from 1997/12

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: RE: Music & Sex was Re: De Peyer
Date: Sat, 6 Dec 1997 08:22:27 -0500

For something *even more* explicit, try Orff's "Catulli Carmina" - if
you can stand his stuff. You don't have to be able to understand the Latin
- very definitely!
The sleeve note writer on my record refused to translate some of the text,
presumably following the old academic maxim thet "some matters are best
left in the decent obscurity of a learned language".
Roger Shilcock

On Fri, 5 Dec 1997, Dan Leeson: LEESON@-----.edu wrote:

> Date: Fri, 05 Dec 1997 13:06:34 EST
> From: "Dan Leeson: LEESON@-----.edu>
> Reply-To: leeson@-----.us
> To: klarinet@-----.us
> Subject: RE: Music & Sex was Re: De Peyer
>
> > From: MX%"klarinet@-----.57
> > Subj: Music & Sex was Re: De Peyer
>
> > On Thu, 4 Dec 1997, Dan Leeson: LEESON@-----.edu wrote:
> >
> > > For example, the sarabande is not a dignified dance in the least. It
> > > is slow, true. And it is in triple meter true. But the accent is
> > > on the second beat and the dance was sexual in nature. Supposedly
> > > some body movement occurred on the second beat that was to give the
> > > impression of sexual congress. Now before you start talking about
> > > style as limiting itself to interpretations of articulation types
> > > and patters or to tempi, you first have to understand the nature of
> > > the thing you are playing.
> > >
> > > =======================================
> > > Dan Leeson, Los Altos, California
> > > Rosanne Leeson, Los Altos, California
> > > leeson@-----.edu
> > > =======================================
> > >
> > Dan, this reminds me of a stunning revelation told to me by my 10th grade
> > English teacher when I was preparing notes for a speech against the
> > burning of rock 'n' roll records. He said, "You know, when they're
> > singing about rocking & rolling, they don't really mean dancing!" I was
> > 14 or 15 at the time -- what a shocker! (OK, maybe I was a little naive,
> > but times were different then.) Once I knew "the code", this kind of
> > music took on a whole new dimension for me.
> >
> > Decades later, Dan Leeson has managed to shock me once again by informing
> > us all that the Sarabande is actually representative of something not as
> > stately or courtly as I had previously imagined. I will never listen to
> > a Sarabande in the same manner again. In fact, all works containing
> > sarabande movements will now be organized next to the Led Zeppelin and
> > Aerosmith in my collection.
> >
> > (Didn't know I was a crazy rock 'n' roller, didja, Dan? Or that I have
> > sex on the brain permanently? I especially enjoyed the story about the
> > clarinet lesson that was, um, postponed!)
> >
> > Have a nice weekend....
>
> For a really hot number, pay attention to the nature of Ravel's Bolero,
> particularly the orchestral scream at the very end. If you cannot figure
> out what the music is supposed to be portraying, you may be dead.
>
>
> >
> > Jacqueline Eastwood
> > University of Arizona/Arizona Opera Orchestra
> > eastwooj@-----.edu
> >
> =======================================
> Dan Leeson, Los Altos, California
> Rosanne Leeson, Los Altos, California
> leeson@-----.edu
> =======================================
>

   
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