palousian

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About palousian

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  1. I just show up. I don't think about whether or not I will pick it up, I go pick it up. I allow no options on that. I play twenty minutes of music I like. If I'm tired or have something else to deal with... I let it slide. But, almost always I'm lost in it within five minutes. Then I get into Bach, and I'm gone.
  2. Arguably, it's the other way around. Bill Monroe had some innovations (keep in mind, he was a contemporary of Charlie Parker), but even his music was never the same after Scruggs came on the scene. Scruggs was already doing his three-finger style, and it was infectious. He would have done that with anyone. Scruggs could drop Monroe and move on with Lester Flatt, but after Earl, Bill Monroe had to find someone else who could play a banjo like that (and he got Don Reno).
  3. Nah, the next one after Beethoven was Louis Armstrong. Had Tchaikovsky, Mahler, or Sibelius not existed, Western music would have had plenty to sustain it. They are, in fact, disposable. The thing about Beethoven was that he changed everything. No composer could ignore him. They could ignore the others. When you look for game-changers like that, there is no one in European music that equals Beethoven, unless it's Haydn, who provided the composition chops for Beethoven and of the rest of the Viennese masters. Would we have had Beethoven without Haydn? Maybe not. In that sense
  4. Oh yeah, no debate on that. I was entirely focused on the likeness here. It's arguable that no other composer equaled Beethoven's impact.
  5. He's a lot closer than that ridonkulous bust is.
  6. Here's their actual Beethoven. https://www.ebay.com/itm/265124212325 I think our guy here is Berlioz. I respectfully disagree with VdA's respectful disagreement--that hair is too fluffy and flowing for Liszt. Maybe Mendelssohn, but we lack the necessary mutton chops for Felix's look. Could be Chopin. For your perusal, here's a somewhat-older Hector Berlioz--definitely the right hair. .
  7. Whenever I see hurdy-gurdy mentioned I feel as if I have an immoral obligation to make a link to this...
  8. Hi Fortissimo, That isn't a viola bow--it's a modern reproduction "baroque-style" violin bow. Before the latter-18th century, bows were like this, bent convex when under pressure, and the frog locked into the stick (here, it's a screw you can tighten like a modern bow). It's definitely a weird combination, with a thoroughly modernized mirrored/left handed (?) violin, so there is indeed some mystery here...
  9. Hi Diego, You haven't really provided the photos needed to identify this violin, but it is almost certain that this violin was made in a workshop in Germany in the early 20th century (an actual Guarneri would be an entirely different thing). It's not worth that much (if it sounds good and plays well--and sometimes these do--maybe several hundred dollars), but it doesn't look like it's damaged, so it could be set up to play. If you want to nail down the attribution, look at this thread and take the required photos, and actual experts (that is, not me) will come on here and give you, well
  10. The way to go about this is to post photographs of what you have in the Pegbox section of this website, using the instructions in this post... Depending on what this is, the paths forward could be quite different. https://maestronet.com/forum/index.php?/topic/333119-how-to-photograph-an-instrument-for-identifcation-purposes/
  11. All in fun. Music education will go on.
  12. There's that slippery slope again. And it isn't true. The silly myth that "classical music is still the foundation of most music" is not supported by the evidence. Even the violin played oral tradition dance music before it was admitted into the hallowed halls of the European classical tradition. You've presented a powerful example for exactly why we need to reform professional music education, IMO.
  13. Not what I was advocating, BTW. Just that these things be respected, and especially the students who love that music. Interesting that you focused on hip-hop and bluegrass, though, because in fact, their roots are in West Africa. Mandinka jelis (the kora players "bungling_amateur" referred to, above) were reciting epics like Sunjata, with improvised tropes in rhythmic speech called sataro back when Landini was figuring out his odd cadences (there's rap). They improvised solos (birimitingo) over polyphonic/polyrhythmic grooves (kumbengo) before the first European improvised a chorale prelud
  14. Well, no music program takes months of your life making you study von Bingen or Higdon, whether-you-like-it-or-not, as they do with the 2nd Viennese School. Yeah, dodecaphonic music is built out of numbers and architecture, which lends itself to a pedagogy of a sort, but the reason people (me) are concentrating on it is because it absorbs substantial chunks of your education cramming nearly useless information into your skull. Time that could be better spent learning the blues or technology. (Apologies to PhilipKT, but...) You don't have to study dodecaphonic music to intelligently reject i