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Zetetic

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About Zetetic

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    Knight of the Keyboard
  • Birthday 07/10/1990
  1. After much deliberation, Katy, Stephen and I have made our decisions regarding the winners of the competition. If we'd been able to announce a joint first prize, we would have done so, but in the end decided it would be unfair to guarantee two recordings when only one might prove possible. Thus, winners are as follows: First Place: RavingSpleen Runner Up: Nikolas It is my intention to Nikolas' work also over the coming year if at all possible, and hope to have finished a recording of RavingSpleen's entertaining, multiple-movement work for theremin before Christmas. Thank you ever so much to all who entered. I hope you enjoyed composing for the instrument. ~Judges' comments will follow shortly~ (Sorry for the further delay - I'm absolutely swamped by University forms - I leave on Tuesday!)
  2. I am SO sorry not to have judged this competition sooner. I have *not* forgotten about it, but a few life events have prevented my being able to announce a winner. This was also the reason for my total absence from the forum over the last month. I intend to hold true to my word to make a recording, but I daresay it will take longer than expected. The results of the competition will be announced shortly, but since I start University next week, a recording probably won't be on the agenda until nearer Christmas. Once again I apologise. All the entries received were wonderful. If no progress is made, please nag me by PM.
  3. I think that's the way to do it, EldKatt. He'll improve both things that way. Just to clarify, he already *has* perfect pitch, but it takes him several seconds to recall what the name of the note is, due to his lack of theory knowledge.
  4. Thanks for the advice almacg. He already knows all the pitches, and seems always to sing things in the correct key. It just takes him a few seconds to remember their names - his knowledge of theory is rather basic.
  5. Yesterday I made a remarkable discovery; my brother seems to have perfect pitch. He played the trumpet and detested it when he was much younger, then gave up music of most sorts until about a year ago, when he took up the bass guitar. Since then (his fifteenth birthday) it has never left his side. He plays it constantly, and has got (apparently, though I'm not a wonderful judge of this sort of thing) rather good. The thing is, his knowledge of musical theory prior to taking up the instrument, even of note names, was so weak that there'd never have been a reason for anyone to suspect he might have perfect pitch. I first detected something unusual about a year ago, when he regularly complained people were singing things in the wrong key. I did a quick test at the piano, asked him to name the tones, and he couldn't do it. Case closed ... or so I thought. A week ago (after a year of bass guitar playing), we were watching some James Bond films together, having just discovered a CD of all the theme tunes. He claimed nonchalantly that the opening title music (that is, the 'song' for each film) was usually transposed for the titles. In the car, I asked him to sing a C#. I had no idea if it was right or not, but he did it so confidently that I decided it was worth investigating. As soon as we got home, I tried again. He got about 95% of the notes correct, struggling not with identifying the pitches, but remembering what they were called. He could also sing notes at will, and name the notes of intervals, after several seconds of concentrating. How can I help him to hone this skill? How can he hone it himself? I suspect that now he realises he has this ability (or so it seems), and now I've lectured him on how ludicrously amazing it is, he'll take it seriously and start trying to improve it. Up until that moment, he seemed to have assumed it was something everyone could do.
  6. Almost teary eyed at the end of Die Kunst der Fuge. But never quite.
  7. As I've said already, I have little concept of how the American (I assume you're in the States, though I don't recall your having mentioned this) admissions system works. Judging by what you've said however, and the sample of your performance after a year, I have a few simple pieces of advice. Firstly, find a good piano teacher as quickly as possible. You'll get better far, far faster if you have directed guidance from a skilled tutor. Secondly, if you were in England I'd advise you to make this late realisation of your love of music a key feature of your application. If you get the chance to write something in connexion with the application, emphasise that you've made great progress in hardly any time at all, and believe that the directed guidance of such-and-such a course would accelerate all the more this flourishing of talent.... or something along those lines. Bear in mind that not all great composers were childhood geniuses. In fact, to some degree I'd stand by Joseph Schillinger's assertion that 'if you know some young man or woman who, at the age of fifteen, is composing music which is perfect, you can be sure you have a musical corpse before you. And if this still seems paradoxical to you, try to recall that Brahms wrote his first symphony when he was forty.'
  8. I think you need to discuss this with a careers advisor or teachers at your current institution. Without knowing in detail quite how talented you are, the Universities to which you might wish to apply and so on, it's rather difficult to make any sort of judgement. Ultimately, if you know that you would enjoy studying Music at University, this is what I recommend. In England at least there are courses that cater for all abilities; I daresay this is the case in the Americas too. Here admissions tutors will consider candidates by potential ability as well as manifested ability. An experienced interviewer should be able to recognise ability, whatever the level of attainment so far. You will be going to University to learn, after all.
  9. This was too tempting... Split infinitive - Wikipedia, the free encyclopedia
  10. A note to all entrants: There may be some delays to judging, as I've come down with the flu. The three judges (myself included) aim to have come to a decision by sometime later this week though.
  11. One thing I've found generally with orchestral recordings though is that the oldest are often among the best performed. Furtwangler's early recordings done in the 1940s are absolutely incredible - I assume because the German orchestras of his day were simply far, far, far better than those we hear today.
  12. Ferkungamabooboo, Do you really value originality above beauty? It sounds to me like you're terrified of being forgotten. If you're interested in moving forwards, look back first. The way I perceive things, musical development tends to move in waves of development followed by synthesis. That is to say that a series of generations make lots of breakthroughs which are then consolidated by the final (usually most well-known) set of composers. Bach created no new real forms, but was a brilliant synthesist (I suppose he was something of a 'fusion' artist by modern standards). He combined tight contrapuntal styles with those he had heard from across Europe, and the result was something almost wholly original. I feel we're in for a spell of consolidation now. Music from Mahler to serialism needs reconciling!
  13. Mozart wrote lots of stylistically unusual music throughout his career, Bach less so. There are a great number of spurious or contested (mainly keyboard) works by Bach, but most of his vocal and chamber compositions are watermarked with his style within the first few bars. The secular cantatas are some of the most unusual pieces he wrote; the two in Italian are, at least superficially, about as close as close to Opera as Bach got.
  14. "When bitonality strikes!" Seriously though, whenever someone's listening to a jolly piece of music, or whistling happily, and then something else sinister starts playing simultaneously....
  15. So I take it you pronounce it with a soft h, like the Scottish 'loch'?
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