I took Shick’s percussion pedagogy class at CSUF and played in a couple of ad-hoc ensembles he conducted. I think one of the pieces was Ionizations (Varese) . I felt very fortunate to learn from such a performer and teacher. My mind was opened about new sound production. Later, I was further educated about new music by Glenn Glasgow, in his graduate courses at CSUEB, causing me to hear Robert Dick, Indian Ragas and many other sources of sound and music that many would dismiss. And yes, Steve is a “nice” guy.
@@longlifetometal1995 those might be tongue drums (or whatever they are called) though because of the slit in the middle and because he hits it in different places
Great lecture. I really enjoyed it. But I was wondering if anyone knew anything about the book he mentioned about 70 minutes in, because I couldn't find anything about the book or the author. If anyone could post a link to some information about the book or the author, that would be great.
Some of this music is not as accessible as pop music or even traditional classical. It becomes meditative to me because I have to attend to it so intensely. It puts me into almost a Zen state.
It has rhythm, it has tempo, dynamics, it has several distinct sections, it has a wide and colourful musical pallete, it is written in musical notation and it requires the player to study techniques to achieve the specific sounds of the piece. Besides that, it requires his ability to read, play and memorize the piece. All the characteristics of any musical piece regardless of the instrument. You can't even say it's non-melodic, once it has very distinct melodic ideas. :)
sad that he spends so long at the intro almost apologising, starting from a position that characterises percussion as somehow inferior to the playing of "real" instruments is not a good way to begin really. Percussion becomes incredibly complex when viewed as a combination of rhythm, timbre, and spectrum.
digimaton .... at 16:50... An eloquent explanation that explains away your confusion. The depth that he goes into in this lecture alone is simply impressive.
alright I started watching at around 40 minutes in, but to me he just sounds like randomly hitting stuff. now im no expert musician, so i guess that's why i dont hear this the same way as you guys.
Travis Chan your not the only one who hears it that way, but I've had to play a few of Cages pieces and I can tell you what he plays is written in the music
I don't think your reaction is a result of a lack of musical knowledge, or a sign of 'philistinism' (whatever that actually is). At most, it's a difference in taste. I also have trouble telling composed pieces from improvisations (and various compositions from each other), and I actually like this kind of music. I think you perhaps get the most of it from watching a live performance or a video like this, where you can see how difficult music like this is to play, and how much skill and concentration is required by the percussionist.
Just in case anyone else was unfamiliar with this rep:
Helmut Lachenmann -Intérieur I
Iannis Xenakis - Psappha
Karlheinz Stockhausen - Zyklus
Some great rep!!
Just discovered Steven Schick...love him already!! And I so appreciate music of John Cage and Stockhausen!!
This is the 3rd time I've listened to this in its entirety. Pure brilliance.
Well said
Thank you for giving respect to Turkish music and culture. Great lecture.
Just saw Steven perform live earlier this evening, inspired me to watch this. Now more inspired than before. Thank you.
Truly amazing I am speechless at this man’s talent
I took Shick’s percussion pedagogy class at CSUF and played in a couple of ad-hoc ensembles he conducted. I think one of the pieces was Ionizations (Varese) . I felt very fortunate to learn from such a performer and teacher. My mind was opened about new sound production. Later, I was further educated about new music by Glenn Glasgow, in his graduate courses at CSUEB, causing me to hear Robert Dick, Indian Ragas and many other sources of sound and music that many would dismiss. And yes, Steve is a “nice” guy.
Many thanks for this video!
Dmitry Timofeev, composer.
Steve. I always knew. Thank you.
stunning
he is a real wonder
Can someone please inform me of what those two different wooden instruments at 48:03 are?
MySisao wood blocks
@@longlifetometal1995 those might be tongue drums (or whatever they are called) though because of the slit in the middle and because he hits it in different places
Great presentation!
Great lecture. I really enjoyed it. But I was wondering if anyone knew anything about the book he mentioned about 70 minutes in, because I couldn't find anything about the book or the author. If anyone could post a link to some information about the book or the author, that would be great.
same bed, different dreams
Thank you for sharing. Awesome!
Delectable!
what is the title and composer of the piece that he opens with?
breathtaking
Amazing presentation, performance and spirit !
Amazing speaching and playing thanks for sharing
Some of this music is not as accessible as pop music or even traditional classical. It becomes meditative to me because I have to attend to it so intensely. It puts me into almost a Zen state.
GREAT presentation...and this guy has the memory of a superhuman! :)
Can anyone name the Gustavo Aguilar (?sp?) piece from the opening for crotales, timp and tape?
Wendel's History
sodelicious..................
10 points to the percussionIST and 1 to Psapha
only piece i liked was the second by Lachenmann. The player is a very gifted man in many aspects
for me its like a demonstration of sounds and possibilities, i am missing a musical idea
unfortunately that's much of what contemporary classical music is.
It has rhythm, it has tempo, dynamics, it has several distinct sections, it has a wide and colourful musical pallete, it is written in musical notation and it requires the player to study techniques to achieve the specific sounds of the piece. Besides that, it requires his ability to read, play and memorize the piece. All the characteristics of any musical piece regardless of the instrument. You can't even say it's non-melodic, once it has very distinct melodic ideas. :)
sad that he spends so long at the intro almost apologising, starting from a position that characterises percussion as somehow inferior to the playing of "real" instruments is not a good way to begin really. Percussion becomes incredibly complex when viewed as a combination of rhythm, timbre, and spectrum.
digimaton .... at 16:50... An eloquent explanation that explains away your confusion. The depth that he goes into in this lecture alone is simply impressive.
46:56 Psappha
During the quiet and serious parts, I couldn't help but wonder what would happen if someone in the audience ripped a giant fart.
alright I started watching at around 40 minutes in, but to me he just sounds like randomly hitting stuff. now im no expert musician, so i guess that's why i dont hear this the same way as you guys.
Travis Chan your not the only one who hears it that way, but I've had to play a few of Cages pieces and I can tell you what he plays is written in the music
I don't think your reaction is a result of a lack of musical knowledge, or a sign of 'philistinism' (whatever that actually is). At most, it's a difference in taste. I also have trouble telling composed pieces from improvisations (and various compositions from each other), and I actually like this kind of music. I think you perhaps get the most of it from watching a live performance or a video like this, where you can see how difficult music like this is to play, and how much skill and concentration is required by the percussionist.
This guy kinda reminds me of Robert Picardo
Um pé no saco...