Recent Adventures in Music
May. 11th, 2025 09:41 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tcpipYesterday I wrote a remembrance-valediction on Rocknerd for former bassist, record-label owner, vocalist, and lyricist, Dave Allen. It was almost forty years ago that I was initially introduced to his extraordinary acumen with the bass guitar through Shriekback, and further explorations would lead me into his involvement in the punk-funk fusion, Gang of Four. Rather like another famous bassist of the period and postpunk style, Joy Division-New Order's Peter Hook, Allen would often play the bass like a lead guitar and dominate a track. I find myself quite affected by his passing; not just because of because I've loved his music for so long, but also because he spent his last several years living with early-onset dementia, a truly horrible illness. For those unfamiliar with his work, I can recommend three particular tracks which really highlight his style; "Damaged Goods" by Gang of Four, "Lined Up" by Shriekback, and, what I consider his anthem, also by Shriekback, "My Spine Is the Bassline".
Continuing the theme, late last night I finished the University of Edinburgh course on "Fundamentals of Music Theory"; I took a lot longer than expected, but, of course, I have a busy life. The content was quite impressive, but there was something that didn't quite gel with me about the presentation. It was neither as comprehensive as J. Allen's Augsburg University course on Udemy, nor the snappy interest of their introductory "Music Theory for Electronic Music Producers". I rather feel I have enough theory notes to compile my own publication on the matter (educator's secret: which is a form of learning its own right), but for the time being, I'll stick to my beginner's practice. My aim in the next few months is to get some competence with Sakamoto's "Solitude" and Satie's "Gymnopédie No. 1". But baby steps first, of course.
Finally, a few evenings prior, Julie A., Nitul D., Emily R., and I caught up at the Hanson Dyer Hall to see a performance of Schnittke's "String Trio". which also included the world premiere of Australian composer Angie Coffey’s "Draevon" and was introduced by Schubert String Trio no. 1. The performance was very well introduced with a little biography of the composers, a little bit of theory, and a personal story of being in the company with Schnittke. Schnittke was a Soviet composer who, finalising this particular piece, suffered a stroke and was declared clinically dead on three occasions before revival, curiously matching his own fascination with decay. Melancholic, brooding, sometimes dissonant and even aggressive. It's definitely worth a listen or three and a copy, with score, is available on YouTube and with Kenneth Woods providing an excellent and insightful analysis.
Continuing the theme, late last night I finished the University of Edinburgh course on "Fundamentals of Music Theory"; I took a lot longer than expected, but, of course, I have a busy life. The content was quite impressive, but there was something that didn't quite gel with me about the presentation. It was neither as comprehensive as J. Allen's Augsburg University course on Udemy, nor the snappy interest of their introductory "Music Theory for Electronic Music Producers". I rather feel I have enough theory notes to compile my own publication on the matter (educator's secret: which is a form of learning its own right), but for the time being, I'll stick to my beginner's practice. My aim in the next few months is to get some competence with Sakamoto's "Solitude" and Satie's "Gymnopédie No. 1". But baby steps first, of course.
Finally, a few evenings prior, Julie A., Nitul D., Emily R., and I caught up at the Hanson Dyer Hall to see a performance of Schnittke's "String Trio". which also included the world premiere of Australian composer Angie Coffey’s "Draevon" and was introduced by Schubert String Trio no. 1. The performance was very well introduced with a little biography of the composers, a little bit of theory, and a personal story of being in the company with Schnittke. Schnittke was a Soviet composer who, finalising this particular piece, suffered a stroke and was declared clinically dead on three occasions before revival, curiously matching his own fascination with decay. Melancholic, brooding, sometimes dissonant and even aggressive. It's definitely worth a listen or three and a copy, with score, is available on YouTube and with Kenneth Woods providing an excellent and insightful analysis.
