>How long it took Mozart to compose The Marriage of Figaro?
(Is extraordinary, for example, that he composed his last tree symphonies in a period of two months).
>why the productivity of musicians of great genius is higher than writers?
>Can one say that is harder – in the sense of more time-demanding – to write a Shakespeare play than a Mozart opera or a Beethoven symphony?
Also: classical music general (I like to talk about this in Veeky Forums more than in /mu/ or Veeky Forums)
beethoven spent a long time on all of his major works, meticulously revising. mozart did less editing
it took brahms 20 years to write a symphony
it took
post the good version retard
lol he literally looks and sounds like a chimp
>that complete strain and rushed gloss at 0:43
utterly pleb senpai.
try
If we can drop the irony for a sec this is unironically the best performance I've heard
There are some writers who were pretty productive in a short amount of time. Büchner for example wrote "Dantons Tod", "Lenz", "Leonce und Lena" and "Woyzeck" in two years.
But music is a lot more about method and causality then writing is. Many compositions just result from a simple melody with a follow up of strictly mathematical variations of said melody - it's craftwork.
There are also novels in which causality looms large, for example Flaubert's "Madame Bovary" - every act in this book is pretty much determined from the beginning. Nevertheless (and distinguished from music), Flaubert still has to come up with every sentence on his own, they don't result from former sentences.
>But music is a lot more about method and causality then writing is.
how to spot a pseud in one easy sentence
I think in a general sense music is more intuitive for people who are geniuses at it.
Don't think you're on the winning side of that one senpai.
We had a variation of this thread just a few days ago and the consensus on that matter was unequivocally the music occupies a much higher plane than lit.
>a bunch of crossboarders pseuding it up
>"consensus"
go back to r/music
Ary Barroso wrote "Aquarela do Brasil" (aka "Brazil") in one night. He claimed it came to him in a flash one night as it was storming and wrote it all basically in one go, as if in a trance.
imo it's the best melody pop music has to offer
One of the earliest versions
youtube.com
>has never heard of Bach
>calls other people pseuds
rules and formal structures are not the same as "causality"
the fact that you think so makes you an utter pleb
go back to /mu/ and jerk about death grips or something
>rules and formal structures are not the same as "causality"
actually it literally is lol
also
>he thinks /mu/ listens to classical music
Is this your first day here? lol
you dont listen to classical music, that's why you need to go back to /mu/
as your lack of basic reading comprehension reveals (on top of your puerile opinions on music), you're certainly not suited for Veeky Forums
why dont you just post on /mu/
comparing music with literature is like comparing cooking with painting. wittgenstein wouldnt be amused. talking about an artform via concepts from another artform, means you dont feel at home in either of them.
>>he thinks /mu/ listens to classical music
More people need to post in /classical/.
What do you guys think it is harder to write: Macbeth or the Jupiter symphony (Mozart's number 41)?
well, thomas middleton co-wrote and edited macbeth, so i'll go with the latter
all the good trips left now it's a bunch of pseud fagggggggggs
macbeth is like 3 different guys throwing in their reject leftover scenes from other plays
Music is easy. Any kid can download FL studio and lay down some "fire beats"
She gives me a Yuja Wang
>well, thomas middleton co-wrote and edited macbeth, so i'll go with the latter
>macbeth is like 3 different guys throwing in their reject leftover scenes from other plays
Sorry, but you guys aren’t very well informed. Some excerpts of it come from the pen of Thomas Middleton, but probably only the scene with Hecate. All the rest of the play comes from Shakespeare’s hand (and that is confirmed with the analysis of the verse and imagistic style, as well as vocabulary research).
But if not Macbeth, change it to Hamlet or Othello.
>verse and imagistic style
>vocabulary research
stop getting all of your shakespeare knowledge from guardian articles and wikipedia and actually read a book
Rilke wrote the first part of Sonnets to Orpheus in 4 days.
I have read all of his plays and all the best critical volumes on him. I have even made a list focused on helping anons in Veeky Forums to better understand the elements and the development of Shakespeare’s poetic language.
>>macbeth is like 3 different guys throwing in their reject leftover scenes from other plays
Nobody said this, so you're strawmanning. Only desperate Bloom posters deny that Middleton made the play that we know today. Even if you want to argue he "definitely" only wrote the worst parts, he very likely edited the play to its current length, giving it the pace and tightness that we know and praise it for today.
I don't believe you.
>to better understand the elements and the development of Shakespeare’s poetic language.
yeah, you're getting all your knowledge from guardian articles and wikipedia
I have larger copy-pastas, but I will post only the old list I made:
>Shakespeare’s Imagery, by Caroline Spurgeon;
>Shakespeare’s Language, by Frank Kermode;
>Shakespeare’s Metrical Art, by George T. Wright;
>The Development of Shakespeare’s imagery, by Wolfgang Clemen;
>The Poetry of Shakespeare’s Plays, by F.E. halliday;
>Shakespeare’s Uses of The Arts of Language, by Sister Mirian Joseph;
>The Language of Shakespeare’s Plays, by B. Ifor Evans
>Only desperate Bloom posters deny that Middleton made the play that we know today. Even if you want to argue he "definitely" only wrote the worst parts, he very likely edited the play to its current length, giving it the pace and tightness that we know and praise it for today.
And to the record, I despise Harold Bloom’s criticism. I have made a big post some years ago explaining why, but it boils down to this: he is all assertions and no prove. He simply states things but doesn’t take excerpts from the writing of an author (let us say Shakespeare) and proves what he has stated.
Also, he doesn’t have nothing of poetic sensibility. He thinks more on the messages of Shakespeare’s plays and on the personality of the characters than on the most important and evident characteristic of Shakespeare’s work: the language, the metaphors, the similes, the versification.
Fernando Pessoa wrote the Triumphal Ode in one streak of ecstasy.
>music is a lot more about method and causality then writing is
That's pure balleyhoo. Sure, 90% of music is programatic and predictable. Just like the river of shit that is most popular literature. Going back to Mozart, his genius was using conventions to undermine themselves. Emphasizing forbidden tritones and chromaticism within the conventional programatic harmonic schemes, condensing periods that should have been divisible by four whenever the melody called for it, turning rythms upside down on purpose, etc etc etc
He was a deliberate provo, deconstructing classical music and it's predictable causality with it's own rules. Writing didn't reach that level of conscious until the 19th century, and it wasn't until the 20th before teoreticians began to understand those mecanics of creative deconstruction.
For those interested, Bernstein held a master class on Music and Semantics back in the mid 70ties. 6 episodes. First one revolves around Mozarts 40th. All can be found at thepiratebay.
>google some titles
>list them
>look at me mom im a patrician Veeky Forumsizen!!
>Do I listen to the Sterling Professor of Humanities at Yale or do I listen to user on Veeky Forums
what a tough choice.
>Fernando Pessoa wrote the Triumphal Ode in one streak of ecstasy.
Well, to be fair, it is mostly free verse and written with a single voice. It doesn’t have the problems with form and proportion to deal with.
If you were to compare to a play by Shakespeare, for example, the Triumphal Ode also doesn’t have the same dense texture of metaphors and similes, each of them requiring great imagination.
ah id forgotten the name of the sister/nun one thx bud
Why do you keep insisting on a guess (a guess about the backstory of an anonymous person that you never encountered) even when you have already been proved wrong? Are you that egotistical, to insist on having the last word only for the sake of having the last word?
You say that 2 + 2 = 5, then someone shows you that the result is actually 4, but since you are not discussing to see the truth you will keep insisting in your “5” result just in order to say “I have the last word. No matter what the world says, I am right, I am victorious”.
Seriously, grow up.
As for the books I suggested, you will notice that mot of them are obscure and hard to find in an initial Google search. That’s because I have read lots of them, and discovered the best tittles slowly.
>>Do I listen to the Sterling Professor of Humanities at Yale or do I listen to user on Veeky Forums
You should listen to arguments and to your own reason when faced with the arguments. To submit merely because of authority (this guy is a professor in such University, but that guy is a minor writer from that small town, so the professor is better because of his position) is a lazy attitude, and I believe that you are better than that.
you sound like you have a bit of superiority complex user
Free verse yet ecstatically rythmical and melodious unlike anyting written since Whitman and perhaps Ducasse. And while the imagery might be blunt, it is heavily strewn with symbolism of penetration and surrender. Just because the style aint dense like good ole rhymin times don't make it less of an accomplisment.
Analogies in Music: Improvisational genres like say- Jazz - mostly made up on the spot