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  #1 (permalink)  
Old Jun 27 2008, 3:12 AM

Composer
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Posts: 81
Member Number: 147
From the Harems of the Gong Palace-Rebab/spike fiddle music

Click this image for a video performance. We are the sultans...

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Old Jun 27 2008, 3:33 AM

nikolas's Avatar

freelance composer
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...

and?

I saw the video, I didn't like the sound at all, I'm not impressed by such videos cause I'm greek!

What about YOUR opinion?
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Old Jun 27 2008, 4:29 AM

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Is this a joke?
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Audio ergo sum
'You haven't cried enough tears in your life to play this music' - Mstislav Rostropovich

Posts:Adagio 'for Eva' for Piano Trio Recording!!!!
Groundwork for war (Zonnymi) trailer (w/recording) The complete work coming soon!
Chansons Mélancoliques One chanson posted thus far.
Currently working on;
Apostasis (for piano quintet and soprano in 3 movements) - Recording...
Dwmatia (for solo viola, single movement) - Halfway through!
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Old Jun 27 2008, 5:43 AM

Composer
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Yeah, the Balinese rebab is not as refined as the rebab coming from the mediterranean. Also, the music is more complex and interesting around that area. My favorite though is the Afghani rebab which is held horizontally and plucked not bowed. But the Balinese rebab has strings so high off the fingerboard that you do not press the string all the way down which is similar to the Chinese Erhu. It takes a lot of control to produce the correct pitch. In which case, I'm a friggin' genius. Haha
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Old Jun 27 2008, 11:05 AM

Intermediate Composer
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Is this the right area for this kind of post? I echo manossg's sentiment.
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Old Jun 28 2008, 12:41 AM

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HAHAHAHA...

Hey, Doc... is it "pang-loss" or "pan-gloss"?? I have a right to know.
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Old Jun 28 2008, 2:32 AM

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It's from Voltaire's Candide. I've always pronounced it and heard it pronounced as "PAN-gloss."
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Old Jun 28 2008, 6:04 AM

Composer
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For those who think this is a joke, we don't see your videos up here anywhere. What, are ya chicken? Haha
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  #9 (permalink)  
Old Jun 28 2008, 10:32 AM

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Actually, no one here is chicken, Gongchime.
They're indifferent to your wall-of-text posts which make no sense.

And for your information, ALL of the participants in this thread thus far have posted their own music on this forum.

As you have been requested before, why don't you post MUSIC, including a score, which supports the unsubstantiated claims you are making with your "theories" regarding melodic outline and rhythm?

While youa re at it, why don't you tell us what your musical background is.

It would be most informative to have a clearer understanding of who you are, what sort of training you have as a musician, that has pushed you to this musical exploration.
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In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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Old Jun 29 2008, 7:37 AM

Composer
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Joined: 26-August 05
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I didn't hear any requests to post my music. In any event it can be heard at MySpace.com - Greg - Las Vegas /Bali, Indonesia - Ambient / Electronica / Experimental - www.myspace.com/gongchime which in fact, was posted more than once. My music has been in the top 10 on broadjam and in several have been in the number one position for months. World music artist of the year in both Korea and India, Aparna Panshikar, sings on my tune River of Stars.

I have several compositions which have not only been forwarded to listings on Taxi, the largest independant A&R company in the world, but also accepted into music libraries which were part of the listings forwarded to. All without a single guitar, bass, drum kit or keyboard. My theories are not unsubstantiated since a link to an appropriate scholarly article accompanied my theories as supporting evidence.

I majored in music education at Northern Arizona university and I studied for my master's degree in music composition at Keimyung University in Daegu, South Korea from professor Lee Seung Seon and also studied ethnomusicology from professor Park Mi Kyeung: expert on the music of Korean shamanism.

I forgot to mention that the music accepted into the libraries also were without chords per se.
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