This is ridiculous! AKA claptrap.

what the actual feck?

Dave is the man,

The written statement in the beginning couldn't be more arrogant. There's multiple ways to appreciate and relate to music, many of them happening simultaneously. Eurocentric fuckery in a nutshell.

I've never heard anybody allege that prince hits women

The overall explanation of Bach's method was ok I guess... but a 'man' would have done a much better job.... obviously.... I think that this dingy broad needs to grab her flute and hurry back to band camp....

yeah rip and shit

Steve Albini was incredibly genuine in an industry that often celebrates phonies and mediocrity. So sad he's no longer with us but I'm grateful for all the wonderful music & wisdom he gave us. RIP

Very interesting

What is she talking about??

Nobody cares about Hollywood. Nobody cares about major labels. Nobody cares about mainstream radio crap. Steve was the real deal and knew the score. Hollywood is over. Thank the Lord.

Great assessment of How It Was vs. How It Is. Excruciating to listen to, because he's reading a prepared text word-for-word -- I finally had to skip ahead a few minutes -- but he's right, in that musicians are better off today than under the Label Regime. They still don't make much money, but for different reasons, and all the BS in the middle is pretty much gone. Maybe that's good!

''lol, this s*cks''

RIP.

most labels = scam

legend rip

This is a very nice lecture, but I’m not a fan of how Bach’s genius here is presented as omnipotent or unachievable. He learned composition through the study of basso continuo/partimento with his brother. He then took this knowledge and later expanded upon it.

"We're going to be looking at Ba...HCQUE"

Any idea who that presenter is?

Grandiloquence

Bach's music is very simply explained: it's the holy divine geometry in music.

the amount of nonsense from the lady is outstanding!! YES, mathematics is everywhere, but that does not mean KEPLER has ANYTHING to do with music harmony, music experience, etc, etc. It is OUTRAGEOUS to have someone distorting history so shamelessly. BACH did not START anything. Music is a continuum. Counterpoint was not invented by JSBACH. Thinking music in terms of independent voices was not invented by JSBACH either. It was a process. There is no BACH if there is no Machaut. There is no Machaut if there are not early medieval composers. BACH did not invent the FUGUE technique. It is mediocre and IGNORANT to think that Bach is the beginning of anything.

I saw the far right wing organization "Larouche PAC" on the screen in the background and immediately stopped. I already know a minute in that they are going to make sweeping universal claims about art and how "today's society is not a sophisticated as yesterday's." or liken common people or pop music to something that is dumbing down the masses. I'm done with this elitist bullshit in classical music. This is Classical music's struggle to stay relevant, Classical musicians and educators need to stop aligning ourselves with these charlatans that know nothing about the history of this music, and live in a world where we realize that art and culture are varied and that there is no objective truth in pleasing patterns that differ from culture to culture.

why does this string quartet sound horribly out of tune?

What is this a recording of? I wish there was more information about who these people are and when this was recorded.

Well.... actually a pretty good presentation....

Didn’t LaRouch run for president a bunch of times?

Amazing instrument and sound. I wish I could hear the cello version, and also a whole ensemble.

this is very disappointing and frankly incoherent, don’t bother listening. the speaker doesn’t seem to understand music history at all; Bach’s methods were similar to his contemporaries and had nothing to do with “Kuza” (whoever that is) or Kepler. Also, a lot of music then WAS composed starting with a melody above a figured bass. And her fugue “analysis” is ponderous and unenlightening. i’m (seriously!) a big fan of pretentious overly intellectual analysis of fugues but this explanation goes nowhere

3:00 complete and utter nonsense. Music hjad nothing to do with it. Especially western Music. The "discoveries" were the result of the translation movement directly preceding from Arabic.

Solid State electronics are very vulnerable to radiation. Vacuum tabes are not. That gives them a use.

What she says around 20:40 is simply false. She says the theme is compressed to just for notes, we alledgedly hear just the four notes of the head of the theme and our mind adds the rest of the theme to the whole of it. But actually the theme is always complete, it's just the entrances of the theme following each other in shorter distances, what is called "Engführung" or a stretto. Our mind doesn't have to add the "missing" notes of the theme, they are actually being played. My problem with the whole lecture is that she is presenting an analysis of this fugue that has already been analyzed multiple times for decades as if she was presenting some revolutionary thoughts, but she's not.

I absolutely hate the recording of Bach's fugue with this aweful, utterly unmusical string quartet. It's a lesson about how to butcher music.

My mind literally exploded

Sounds out of tune

inspiring

Thank you Andy, excellent work, great graphics, especially the recap.Thanks for the thorough *harmonic and rhythmic analysis. December 12th 2023

This analysis of music of Bach is completely removed from the integrative approaches he had to music, despite the complexity of all of the means of his compositional devices. That is how music of Bach had been routinely distorted from its primary purpose that Bach himself outlined very clearly - to serve as the vessel for expression of emotional feelings. Many Bach scholars forget about this because since childhood everyone had been required to withhold emotions in his music for rather irrelevant reason - to replicate his time’s dominant harpsichord and clavichord. And biological facts abut his using Pianofort had been hidden from most textbooks, fooling generations of musicians into mechanical approach to the music that is emotionally complex and satisfying as well as intellectually

Kepler may have been engaged into mathematical values of suns, but Bach had not been involved into these mathematical concepts. Mozart studied with the son of J.S.Bach during childhood.

Très intéressant 😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊

Where is the full video of this series? I cannot seem to identify LPAC tv or the persons in this video.

Beautiful!!

can i use the comments as my response sheet?

Advanced Fugue form. 😁 Bach was a master.

This lady is incredible.

It took me the whole length of the presentation, but I THINK I'm getting some of what she's pointing out here. There's indeed a strong element in the Bach Fugue and I'd say Bach's melodic element in general, that speaks as a piece of art, or even as its own language, that reaches our consciousness as that, and not so much as a listening of music. We're "hearing" the sound but processing some creation that's reaching our minds almost in the way that mystery school, or esoteric, symbolism effects us. Where the material used for making the "symbol" was not the primary purpose of the creation, but the effect it's having on our conscious (or in these cases subconscious) mind is the true esoteric meaning or the true created art. Not the physical material used for making the vehicle that sends such a message to our minds. If I'm on to something here, or at least getting it in some way, then it would make a lot of sense to me as to why we find evidence of people's thought process and learning abilities showing measurable changes in outcome when listening to things like baroque music while studying, for instance, and reported effects of calming, healing, and even broadening artistic creativity in many people. The "messages" they're getting (or that we the listeners are receiving) is something esoteric that isn't present in a physical form from just examining ONE line of a particular instrument, or from focusing solely on the "music" of any particular melodic line in any of the thematic elements. It's like a hidden message talking to a part of our brains that isn't necessarily operating while we're functioning from our objective consciousness. Even though I'm displaying a poor effort here in order to share what I think I'm getting out of this--through the analysis action--I truly believe I was thinking this way in some fashion about Bach's music for a long time. I just didn't attempt to unpack it in all these elemental divisions the way I'm seeing some of it now. This was helpful. I really wish there was more to this presentation here. If anyone reading this has ever read or studied Rudolf Steiner, you know where I'm going with this, and he has in many ways written and lectured about receiving elements in the material form this way before. I'm going to dig into my references and see if he ever used Bach in particular to get the messages of some lectures across in the past. Very well done here! I liked this a lot. I'll try to see what effects have changed in my perception now when I'm practicing Bach. ~JSV

As a musician (player, performer, teacher) I find with Bach in particular, that there is nothing like it in terms of the experience I have when practicing. Something noticeably changes in myself and my musical perception when playing or practicing (struggling lol) through let's say a piece from a Bach sonata. I reach a place within my Will as a musician that I don't experience with anything else. This really is the main reason I continue to practice from his work. It's very easy to be comfortable repeating this music the several hundred thousand times it takes me to get it down. I don't ever get brow-beaten from the repetition. On the contrary, I get more obsessed the more I play it--probably to perfect it more, but I get the melodic lines stuck in my mind and feel almost an addictive desire to keep playing them. My latest obsession has been working on the g-minor presto, Sonata1, playing it on mandolin. It's made me enjoy mandolin at least as much as I have with my main instrument of guitar for more than 40yrs! It's truly something magical that exists within Bach's work that I may never be able to put into words. It's no wonder his compositions have become virtually the staple for so many methods and counterpoint approaches to music. I may have this argument with fellow musicians, about the two and three part inventions, but I feel that the Well tempered Clavier to me may be possibly the greatest musical work of all time--maybe too his catalog of organ works is at least as profound for the player, but in composition, adaptability, and listening value I'm forever blown away by the Well tempered Clavier catalog. What the hell would music have ever been without his work? Wait!!! Don't tell me. I don't want to know... ~JSV

famous last words

7:58 8:23

best thx