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Post by Ardo Whortleberry on May 18, 2009 20:28:58 GMT -6
Greetings, Stormrider { & Everybody! } ~~~
I thought maybe I should transfer this discussion from over at the "Introductions" Department, as there is plenty of matter in the subject for many a decent chin-wag, but the subject is also not necessarily Tolkien related ~~~
I am certainly no "expert" in the field of Classical Music, but I have been listening to so much Clasical Music for so many years, ( mainly on the big Classical Music radio station based in San Francisco, [ but also available online ] - KDFC ) that I feel like I can now at least recognize the general Period from which any particular piece originated from...
Also, many composers have a distinctive style, but often, their own style is still restricted by the parameters of whatever overall style of music was popular in their time, so it is not always so easy to "pick out" a particular composer simply by his ( or her ) style...
In some cases, too, one composer may have admired another composer so much, that they "imitated" their style in their own work, & it is often difficult to tell the difference betewen their work & that of their idol...
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Post by Stormrider on May 18, 2009 23:22:00 GMT -6
It seems that many composers studied under other more well known composers, therefore, picking up some of their style as well.
Not only that, it seems that there are a couple of composers with the same names and I believe they are father and son or grandfather and grandson. Isn't Mozart one of those family names? and I am sure there are a few others...but like I said, I am not great for remembering what composition belongs to what composer nor all their first names.
It amazes me that many composers had already written several pieces very early in life! Did they play several instruments? Did they just know the sound each instrument made and knew how to write it into their composition? They had to be able to play some instruments--perhaps several! Today's groups get together and jamm--the composers must had done that, too.
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Post by Ardo Whortleberry on May 19, 2009 0:28:33 GMT -6
Hello, Stormrider! ~~~
{ This is in response to the first two paragraphs in your "Reply #1" } Yes, definitely!:
This was more often the case back in the 1700's, ( and into the 1800's ) for sure, where the vocation of being a musician/composer was passed down from from generation to generation, similar to the way other trades and professions were also passed down through the family, and there definitely were what you could call "Musical Families" ---
Wolfgang Amadeus Mozart ( the super-famous one ) had a father who was a composer/musician before him - & I think W.A. Mozart had some brothers & sisters who were also raised in the "musical tradition" - learning how to play instruments & to read music at a young age ( and performing together at "recitals" ) -- [ of course, W.A. Mozart was a phenomenon, a genius "whiz-kid" from a very early age, super-talented, etc. ] His father ( Leopold ) was well enough known ( in his own right ) at the time, but nowadays, whenever people hear the name: "Mozart", they are most likely thinking of Wolfgang Amadeus - "THE Mozart"....
Then, there was the case of the Bach family --- The most famous of the Bachs was Johann Sebastian Bach, but he had many children, and J.S. Bach wound up being the "patriarch" of the musical Bach clan - with several of his sons also becoming composers: Johann Christian Bach, etc. But in this case, the father remained more famous than any of his sons....
Then, there was the Strauss family in Vienna, famous for their Waltz music - only I can't remember right now who came first - there was a Johann Strauss in there - and it might have just been Johann Senior & Johann Junior - but I'll have to "fact check" on that one....
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Post by Ardo Whortleberry on May 19, 2009 0:41:00 GMT -6
In some cases, too, one composer may have admired another composer so much, that they "imitated" their style in their own work, & it is often difficult to tell the difference between their work & that of their idol... An excellent example of this is with Schubert, who idolized Beethoven ( and Beethoven was a "towering genius", so it's easy to understand why Schubert idolized him ) --- Schubert emulated Beethoven in his own works so much, that whenever I have heard a Schubert piece, I have mistaken it for Beethoven's ---
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Post by Ardo Whortleberry on May 19, 2009 1:01:41 GMT -6
O.K. - I did a little bit of "light research" - ( very light ) & came up with this:
There were two Johann Strauss's - father and son - both composers of dance music, but the son, "Junior" wound up being the more famous of the two:
Johann Strauss II ( 1825 - 1899 )
- "Johann Senior" had actually desired for "Junior" not to follow in his footsteps and become a composer, but for "Junior" to become a banker, instead ---
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Post by Ardo Whortleberry on May 19, 2009 2:27:56 GMT -6
( Stormrider wrote: )
It amazes me that many composers had already written several pieces very early in life! Did they play several instruments? Did they just know the sound each instrument made and knew how to write it into their composition? They had to be able to play some instruments--perhaps several! Today's groups get together and jamm--the composers must had done that, too.
---------------------------------------------------------------------------------- You are absolutely right in almost all your suppositions here - absolutely "bang on" the mark! ( as the Brits would say ) --- .....except, well, in that the composers never really got together and "jammed" so much, in the way that, say, Jazz Musicians have often been known to do ( Jazz being a whole other "musical genre" I am looking forward to discussing ) --- Composing was more often a secretive, "lonely, solitary endeavor" and composers might be more inclined to keep their compositions private ( until these were performed in public ) --- I don't think the copyright laws and the payment of "royalties" were thoroughly established back then, and the composers had to be a little wary, in order to protect their "property" --- Some composers had wealthy "sponsors" who might commission them for a new composition, but sometimes they had to make their money in other ways, like teaching music, or being a choir-master, etc. --- Still, this doesn't mean there was never any kind of improvising, ever - although I think maybe, (more often than not) it was in the form of a little "parlor game" ( of sorts ) - where the composers might take turns improvising upon the works of their fellow-composers, sometimes to the extent of just trying to show how "virtuostic" they could be - to showcase their own talent --- There was probably sometimes some simple "friendly camaraderie" in these games, as well, between composers that really were just good friends, or between "teacher and student", but more often, it was more like "Talent Wars" ---
Not too long ago, I was watching this excellent documentary that was an in-depth look "inside" certain famous composers and their works - this episode was concerned with Beethoven, and it included this little story:
This happened in Vienna, ( I'm fairly certain ) at one of these fancy "soirees" where the elite would meet to drink and eat and socialize, and to possibly listen to the "latest thing" that some composer had produced, usually played by the composer himself -
Now, at this little party, there was some composer whose name I forget ( actually, he is little recognized these days - in fact, the first time I had ever heard his name was when I was watching this documentary ) who ( at the time ) was rather popular - there was nothing terribly grand or stupendous about his work - you could even say he specialized in making music that was almost innocuous - never very daring or dramatic - just "pleasant listening music" ( although, "technically speaking", he was very proficient at producing new music that was technically very well "engineered", if not exactly "inspired", and he still considered himself to be fairly "hot stuff" - a successful musician, & possibly the most "prominent" musician around in Vienna at that time ---
Well, anyway, he played his latest composition, and then, I'm not sure if he invited Beethoven, himself, to come over to the piano and "try his hand" at this piece that he ( Mister Whatshisname ) had just finished playing, or if this was just what was "expected" of Beethoven to do ( Beethoven sort of being the new "challenger" to the title of "Top Dog Musician In Town ") but, anyway:
Beethoven strides up to the piano, sits down, then turns the sheet-music upside down!!! - and then proceeds to boldly improvise from the jumble of upside-down music notes - in a tremendous display of talent and inspired music-making, he literally took this guy's music and turned it upside down and "inside-out" and transported it onto some other plane of existence...
Apparently, after this, "Mister Whathisname" sort of slunk out of the party, and then slunk out of town - except that he did still manage to "pull up stakes", and "take his show on the road" - he moved to Hungary ( or someplace like that ) and continued to have a successful career there ---
It all sounds more like a "showdown" between the new kid in town and the Old Boss in town, at High Noon, out in front of the Saloon, ( "This town ain't big enuff for two composers" ) rather than any kind of "Jam Session" ~~~
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Post by Stormrider on May 19, 2009 6:16:40 GMT -6
Ardo:
I loved that story about Beethoven and Whatshisname! It would have been interesting to hear both of those pieces. Did they play it on that show you were watching?
I guess I didn't really mean that the composers actually jammed with each other but more of a one-man keyboard tapping (or whatever instrument they were working on) in their own parlors to see how their piece was shaping up. Or just bits and pieces at a time so no one heard the whole thing until it was done.
Another question: If there are several instruments in the composition, they aren't always playing the same notes at the same time but something different and maybe taking a break here and there and starting back up. How in the world is a piece written so each player knows when his instrument plays and when it is silent? Are there several stanzas -- one for each instrument (or group of instruments if they keep the same tune) -- to show when it plays and when it stops?
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Post by Ardo Whortleberry on May 20, 2009 2:17:29 GMT -6
Ardo: I loved that story about Beethoven and Whatshisname! It would have been interesting to hear both of those pieces. Did they play it on that show you were watching? I guess I didn't really mean that the composers actually jammed with each other but more of a one-man keyboard tapping (or whatever instrument they were working on) in their own parlors to see how their piece was shaping up. Or just bits and pieces at a time so no one heard the whole thing until it was done. Another question: If there are several instruments in the composition, they aren't always playing the same notes at the same time but something different and maybe taking a break here and there and starting back up. How in the world is a piece written so each player knows when his instrument plays and when it is silent? Are there several stanzas -- one for each instrument (or group of instruments if they keep the same tune) -- to show when it plays and when it stops? I have often wondered the same thing myself, and, to be perfectly honest, I really have no idea, for certain, how this little trick is managed --- One possibility is that are there are little shorthand notes, little signs and symbols, etcetera, on the sheet music showing which instruments are to be played when.... This is also where ( in the case of an Orchestra performing ) the Conductor plays such an important role in directing the musicians on where and when to "cut it off" or "turn it on", as well as directing the players on "turning it up or turning it down" ( with the quietness or loudness of their playing ) and in general, "directing traffic" with all the various instruments and their players --- In the case of a smaller group of musicians, I would assume that the timing could be established by means of practicing a piece together - ( which the Orchestra members also have to do as well, of course, but under the tutelage of the Conductor ) --- Getting back to that documentary: I'm afraid there was no attempt to reproduce what the pieces that were played might have sounded like - If it was still known which piece of his music "Mr Whatsisname" had played first ( and there still existed a copy of the sheet music ) it would be easy ( I assume ) for that to be "reproduced" - but as far as Beethoven's upside-down interpretation of the same piece, that might prove near-impossible to reconstruct as it really sounded, all though I suppose someone ( who knew what they were doing ) could give it a try --- The only music that did get played in that documentary was parts of Beethoven's Third Symphony, as I recall ---
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Post by Ardo Whortleberry on May 20, 2009 3:38:44 GMT -6
~~~ Greetings, One And All, Once More ~~~
I don't want to be a total hog with this thread - I can't seem to stop myself from elucidating so profusely on this subject ( although I would love to hear from others about their own favorite musical genres, or in which ways they enjoy music - or if they don't enjoy music at all [ although I would assume that everybody likes music, to one degree or another - but, I could be wrong! ] ) ---
P.S. ~ Thanks, Stormrider, for the great posts so far already! ~
So far, this thread has wound up mainly revolving around Classical Music, partly because I got so "revved up" on the subject, & partly because I do know a little about the genre - but only mostly from absorbing a little bit of knowledge over the years through the process of "osmosis" ---
Which brings me to my next little "treatment":
I do know the names of a number of Classical Music pieces, & the names of those who wrote them, but only because I have heard them so many times over in my lifetime that eventually, the sound of one of these compositions has become "linked" in my mind to the name of the composer and the title of the piece ---
But then, many of these same pieces are so familiar to almost everyone, I believe, even if they may not know who wrote it or what it is called ( or knew at one time, but have forgotten ) ---
Also, many of these very same pieces of music ( or bits & pieces of these pieces ) have been "recycled" into theme songs for Old Time Radio Shows, or as part of scores for background music in movies, or played so often at functions & ceremonies, [ like Mendelssohn's "Wedding March": "Dum-dum-dee-dum, Here comes the bride" - although originally, there were no such lyrics attached to the music ] or, "co-opted" into TV commercials ( mostly humorous ones ) or used in animated cartoons, and so on...
Anyway - here's my "list" ( of pieces which are "instantly recognizable" to me ) : [ Where appropriate, I will stick in a note as to where a particular piece has been re-used, especially where it has been done so to the point where most people associate it with its "new identity" ]
Johann Sebastian Bach - "Toccata And Fugue in D Minor" [ the music the Phantom of the Opera was playing on the organ in the old Lon Chaney movie ]
Ludwig Van Beethoven - Fifth Symphony & Ninth Symphony
Edvard Grieg - "In The Hall Of The Mountain King" ( from his "Peer Gynt" )
George Gershwin - "Rhapsody In Blue" [ United Airlines commercials ]
Rossini - "William Tell Overture" [ "The Lone Ranger" theme song ]
Mozart - "A Little Night Music"
Edward Elgar - "Pomp And Circumstance"
Mendelssohn - "A Midsummer Night's Dream" [ also used in Woody Allen's "A Midsummer Night's Sex Comedy" ]
Jean Phillipe Rameau - ( I can't recall the original name of this piece right now - but for years, it was used as the theme music for "Masterpiece Theater" )
Ravel - "Bolero"
Vivaldi - "The Four Seasons" - ( "Winter"; "Spring"; "Summer" or "Fall" - although sometimes, I have trouble telling them apart - except for "Spring" )
There are some others, for sure - probably many others, but, at the moment, I've got the Jazz station on, and that's driving all that Classical Music right out of my head - but I don't feel like switching the station right now, that's plenty for now, anyway... ~~~
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Post by Stormrider on May 20, 2009 6:24:07 GMT -6
Ardo: I recognize and like all of those pieces, too! Mozart - "A Little Night Music" I've heard this one as "Eine Kline Nacht Music" (spelling may not be correct) which, of course, is German for a little night music. Bolero was also used in the movie 10 with Bo Derek I just recently heard The Four Seasons by Vivaldi on the radio and went out and purchased it. Other pieces that I love are: Carmen - Georges Bizet - I don't care for the singing in it but love the musical part. Mephisto Waltzes are four waltzes composed by Franz Liszt Night on Bald Mountain by Modest Mussorgsky The Sorcerer's Apprentice by Paul Dukas (I love Fantasia) ALL of Pyotr Ilich Tchaikovsky's works -- He is really my favorite composer. 1812 Overture, Op. 49 also written by Russian composer Pyotr Ilyich Tchaikovsky. (Puffed Rice cereal commercials form years ago) * * * This is Jazz but one of my favorites. Our Equestrian Drill Team used The Peter Gunn Theme done by Emerson, Lake, and Palmer as part of its music one year. Info is from Wikipedia: en.wikipedia.org/wiki/Peter_Gunn
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Post by Ardo Whortleberry on May 20, 2009 18:24:04 GMT -6
Good Afternoon ( at least, from where I am at ) Stormrider! ~~~
I was tempted to write down the German for "A Little Night Music", myself, as that is the way it is normally "introduced", but I was very unsure of the correct spelling as well... ( it usually sounds something like: "Aye- ner- Kliner- Knocked- Musik" to my ear ) ~~~
Judging from your "list", it sounds like you really go for that "fiery" classical music, most of all... I go for a little bit of "heart-racing" music like that, now and then, although I do think I tend to drift more towards the mellower side ( or, at least, sometimes, music that is more dreamy, or still dramatic, but in a less "fiery" mode ) --- This applies to my taste for Jazz, as well ---
For instance, my favorite Mancini music is the "Pink Panther" theme music, with its feel of cool whimsicality and its "spriteliness" ---
Getting into Jazz, which is a whole other universe to explore, I have to explain some of my feelings on that: When I was growing up, ( like, before I even became a teenager ) most of the music I was exposed to was "Popular Music" ( but then, starting in the 1920's & going on into the 1950's, Jazz WAS the "Popular Music" in America- so when I heard Nat King Cole singing "The Christmas Song" it was at least a song inspired in the "Jazz Tradition", even though it was recorded with all those violins and other Orchestral instruments in the background ) ... Usually, the only "Jazz" I heard was on the "Lawrence Welk Show" ( which is actually, believe it or not, considered to be a kind of Jazz Music: "Sweet Jazz" - as opposed to "Hot Jazz" ) My grandparents liked to watch that show... ( this is going back to the very early 1960's, now ) There was the theme music on "Perry Mason", which although not as sophisticated as that "Peter Gunn Theme" was also one of those "darker, dangerous, intense, intrigue & violence" kind of Jazzy themes --- And that's sort of what I grew up associating Jazz with, with TV shows and movies that were involved with the grown-up world of raw emotions and ( sometimes) violence and death --- Like "West Side Story" - or "The Man With The Golden Arm" - There always seemed to be a lot of blaring trumpets in this kind of music - discordant sounds, and sometimes those bluesy saxophones that could only mean one thing: "seduction & sex" - ( another grown-up theme that meant nothing to me yet ) ---
Eventually, I began to catch snatches, here and there, of a different kind of Jazz Music - one that was more lighthearted, that was "prettier" - One of the first of these was a big "cross-over" hit, Vince Guiraldi's "Cast Your Fate To The Wind", ( & then, a little later, there was his "Peanuts TV Specials" music - still some of my favorite Jazz music ever ) In this same vein, there was also Dave Brubeck's huge hit, "Take Five" ---
I think I began to realize there was another whole side to the world of Jazz ( besides all that "heavy-duty" stuff ) just waiting to be explored....
As you can probably tell, I'm getting "all over the place" with this, & I'm just sort of sorting out my thoughts & reflections, and I still had some other comments I wanted to make, in reference to your last post, so I'd better just come back later....
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Post by Stormrider on May 20, 2009 22:33:01 GMT -6
Yes, I like the fiery kind of classical music--powerful, strong, and exciting. Although I do like softer prettier stuff as well and I love the strings. Tchaikovsky is pretty powerful but he has some really pretty passages in The Nutcracker and Swan Lake.
Another bold and colorful piece with influences of The East in it is Rimsky-Korsakov's suite Scheherazade from the Arabian Nights tales! Another of my faves.
I have always wondered about Rachmaninoff since Marilyn Monroe in the movie Seven Year Itch referred to Rachmaninoff's music as "shake me and quake me" stuff. I just looked him up in Wikipedia and he was influenced by Tchaikovsky and Rimsky-Korsakov. I will have to find some of his pieces and listen to them...if Tchaikovsky and Korsakov influenced him, it is a good chance I will like his works. But he composed mostly for the piano since he was an excellent pianist.
Now for Jazz:
The Pink Panther is one of my favorites! The original movie was really good. Peter Sellers, David Niven, and (very young) Robert Wagner. West Side Story is good too. I guess I never thought of them as Jazz but now that I think about it, yes, they definately are Jazz.
Have you heard Emerson, Lake, and Palmer's Peter Gunn? It is pretty powerful compared to the tv show version which was pretty cool itself.
I am not very learned in Jazz at all. There is probably much of it that I have heard and like but never got into or even thought to myself "that's jazz!" Again I am probably more into the brassy blairy type of jazz. Even my favorite classic rock bands have powerful music--Led Zeppelin, Black Sabbath to name a few. I was a teenager in the 60's so all the popular bands were my favorites. I guess I like music that really makes a statement in its sound. And yet the softer, silkier stuff is enjoyable, too.
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Post by Ardo Whortleberry on May 21, 2009 18:37:37 GMT -6
Hello, Stormrider! ~~~ I must hasten to add - I speak in generalities when I say that I prefer this kind of music to that kind of music, etcetera --- I enjoy "soul-stirring", dramatic music as well as the more "contemplative" stuff - I like almost everything - except, there are certain kinds of Jazz that does get on my nerves after a while ( even though I have tried to keep an open mind and an open ear about it ) - although I can't think of any Classical Music that does that - except, there was a time in my life when it did seem like most Classical pieces tended to put me to sleep! I'm afraid I probably know more about Jazz than what's good for me - I even took a course in the History of Jazz once,( through a community college, that was taught by a man who was the the Jazz Critic for one of our local "Major Metropolitan Newspapers") - Before that, it was more like: "I don't know a lot about Jazz, but I know what I like" -- I did recognize the names of the musicians, when they were announced, ( and I had my favorites ) but I hadn't categorized, in my head, which kinds of Jazz belonged to this or that "movement", and I did not know a lot about the background history -- Of course, anyone who watched the PBS Ken Burns series on Jazz would have learned as much about its history as I learned in that class ( although it did seem like certain musicians and stories that could have been told got overlooked in the Ken Burns series ) I believe I have heard the "Peter Gunn" music before, on the local Jazz station, but I had been listening so much more to the Classical station ( especially for the last year and a half or so ) that it's been a while since I last heard it -- ( the next time I get to the library, I will look for a CD ) --- One of the more "exciting" Classical pieces I enjoy is: Wagner's "Ride Of The Valkyries" -- actually, for many years, this piece was always linked in my mind to my work - for a quarter of a century, I worked in Espresso Coffee shops, and sometimes, when that music came on the shop radio ( the Classical Station was always on ) and I would be standing at the coffee machine, steaming the milk, these images would come into my head of a sailing-ship plowing ahead through stormy seas, and as I was watching the milk spin and churn in the steaming-pot,( in time to the music ) it was like I was standing on the prow of that ship, with the wind in my face...( this was especially true on rainy days, and if it was busy in the shop )... "Bolero" was also a piece that created a certain mood for me, whenever it came on the shop radio ( as "background music" )- One of the very first times I heard it in this way, there was another "Barista" ( a "Lady Barista", although, back in those days, where I worked, we referred to each other as "Coffee-men" ) who remarked that "Bolero" sounded like dinosaurs making love! Every once in a while, I still get this image in my mind of a bunch of dinosaurs frolicking around, during the "mating season"
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Post by Stormrider on May 22, 2009 5:51:23 GMT -6
Ah! Images ignited by the sounds of music! I forgot about Wagner's "Ride Of The Valkyries". That is another of my favorites and I suggested it to our drill team manager as music but she wasn't able to fit it into the drill with the rest of the music--we use modern, country, classical intertwined depending on our theme--but it didn't fit in with the rest she had picked out. This year we are gangsters so it is out for that theme! But yeah! this music does inspire the images you mentioned. I just don't get dinosaurs mating for Bolero! It sounds more seductive and sexy to me and dinosaurs just seem unwieldy and clumsy. I liked Disney's Fantasia in which the cartoonists' own visions were put to the musical compositions. It was very interesting. I can still picture Mickey as the Sorcerer's Apprentice and the dancing hippos. I have to go find it and watch it again--been meaning to do that. I think there is a Fantasia 2 but I have not seen it. Last night I heard a quite unique version of Carmen with just flute and piano on the station I listen to here in the Rockford, IL area: WNIU 90.5 FM www.wniu.org/. It was by Francois Borne and called Fantasy on Themes from Carmen with Irena Grafenauer on flute and Michael Grandt on piano. (I got it off the stations list of what has played in the past--so anyone who liked something and didn't catch the title, composer, or orchestra can look it up) The flute ran thru several movements going from subtle and soft to really fast and wild (and even kind of jazzy) while the piano was an anchor to sanity. I am going to have to see if I can pick this version up because it was a very interesting style and I liked it a lot.
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Post by Ardo Whortleberry on May 22, 2009 19:56:43 GMT -6
Hello, Good Day; Good Evening; & etcetera, Stormrider!~~~
Although the radio stations I listen to the most are available on the WWW ( streaming on the Internet ):
Classical: KDFC - from out of San Francisco - 102.1 on the FM & Jazz - KDFC - San Mateo - 91.1 FM ( around here, anyway 0
I'm afraid our computer system at home is not equipped to receive Internet radio stations ( it's probably mostly the fault of our still using Dial-Up instead of Broadband - videos, audio feeds, etc. are simply hopeless for us here ) The computers at the library ( which I sometimes use ) have a Broadband connection - but no audio ( of course! ) ---
I just heard, a short while ago, a "Classical"-stylized version of "Penny Lane" by The Beatles ( on Kdfc ) - rather nice! I too, am a child of the Sixties, although I wasn't a teenager until the Seventies --- I was thoroughly imbued in all the music of the 60's: Pop/Rock, Folk/Pop, "Top Forty", The Supremes' Mo Town Music - For a while, we didn't even have an FM radio in the house, so I mainly just heard the songs from all the different genres that had "crossed over" into the mainstream - "Top Forty" zone - and of course, there was a lot of Rock music that made the crossover - I always loved The Beatles ( didn't everyone? ) but I also liked Simon & Garfunkel and Cosby, Stills, Nash & Young "Summer Breeze... makes me feel fine..." I still remember, as a young lad, walking down the street, singing The Beatles's "Here Comes The Sun" to myself -
When "Soft Rock" came in, I thought: "That's for me!" Because I still wasn't ready for the high-powered stuff --- In Junior High School, it seemed like almost every able-bodied adolescent male wanted to be in a Rock Band - and one day, as I was passing by the old auditorium building on campus, ( where one of these wannabe Rock Bands was practicing, with the amplifiers and speakers on their electric guitars turned up full blast ) & the side-door was open for a minute ( actually, just for a few seconds ) & the blast of noise emanating from inside the building literally hurt my ears... Of course, eventually I would come to appreciate songs like Led Zeppelin's "Stairway To Heaven" - but when I heard the music, it wasn't that loud! ~~~
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