Moderated by Robert R. Fink; 00:50 Fink introduces the panel and the topic of Music and Language; 00:57 Bernard Rands apologizes because the presentation was supposed to be a joint presentation with Mel Powell but Powell could not make it; 01:45 Rands begins his discussion about the relationship between text or language and the musical context that can be created. He also explains that he usually talks about the syntax and grammar of music but will talk about “visual language†and how, for example, a painting can create analogies in music instead. He talks about an opera that was based on the life and work of the painter, Vincent van Gogh; 04:25 Rands talks about the technique of the paintings “Beach at Scheveningen in Stormy Weather†and “Beach at Scheveningen in Calm Weather.†He continues to talk about the foreground, middle ground, and background of the paintings and the surface detail which he makes a connection to in the orchestral surface and compositional sound; 07:23 Rands plays a recording of the orchestra to demonstrate the relation of language between the boats and people in the paintings to the sound, or compositional nature, of the orchestra; 11:09 Rands stops the recording and continues to talk about the quality of the recording and Vincent van Gogh; 12:18 Rands talks about the drawing “Sorrow†by Vincent van Gogh. He talks about the surface drawing as an outline, the second drawing being more elaborate and then the third stage of the drawing being the most complex. He relates the stages of the drawing to variations in music; 14:30 Rands plays the next recording related to “Sorrowâ€; 20:27 Rands mentions a painting titled “The Tambourin†or [“Agostina Segatori Sitting in the Café du Tambourinâ€] and talks about the café in Paris that many artists would visit. He continues to talk about the geometry of the café setting in the painting; 23:06 Rands plays a recording that reflects the language of the painting “Agostina Segatori Sitting in the Café du Tambourinâ€; 28:12 Rands stops the recording and talks about light in a painting. Rands continues to talk about the uneasy relationship Vincent van Gogh and Paul Gaugin had with their fathers. He relates the “inner light†of Vincent van Gogh to his artistry; 31:05 Rands talks about two van Gogh paintings and the difference in light: “The Night Café†and “Café Terrace at Nightâ€; 33:00 Rands starts the next recording in relation to the two paintings about the night café; 37:20 Rands ends the recording and concludes with a painting titled [“The Dance Hall in Arlesâ€]; 39:00 Rands starts the final recording about the dance in Arles; 42:45 Rands ends the recording and thanks the audience for listening.
description
Moderated by Robert R. Fink; 00:50 Fink introduces the panel and the topic of Music and Language; 00:57 Bernard Rands apologizes because the presentation was supposed to be a joint presentation with Mel Powell but Powell could not make it; 01:45 Rands begins his discussion about the relationship between text or language and the musical context that can be created. He also explains that he usually talks about the syntax and grammar of music but will talk about “visual language†and how, for example, a painting can create analogies in music instead. He talks about an opera that was based on the life and work of the painter, Vincent van Gogh; 04:25 Rands talks about the technique of the paintings “Beach at Scheveningen in Stormy Weather†and “Beach at Scheveningen in Calm Weather.†He continues to talk about the foreground, middle ground, and background of the paintings and the surface detail which he makes a connection to in the orchestral surface and compositional sound; 07:23 Rands plays a recording of the orchestra to demonstrate the relation of language between the boats and people in the paintings to the sound, or compositional nature, of the orchestra; 11:09 Rands stops the recording and continues to talk about the quality of the recording and Vincent van Gogh; 12:18 Rands talks about the drawing “Sorrow†by Vincent van Gogh. He talks about the surface drawing as an outline, the second drawing being more elaborate and then the third stage of the drawing being the most complex. He relates the stages of the drawing to variations in music; 14:30 Rands plays the next recording related to “Sorrowâ€; 20:27 Rands mentions a painting titled “The Tambourin†or [“Agostina Segatori Sitting in the Café du Tambourinâ€] and talks about the café in Paris that many artists would visit. He continues to talk about the geometry of the café setting in the painting; 23:06 Rands plays a recording that reflects the language of the painting “Agostina Segatori Sitting in the Café du Tambourinâ€; 28:12 Rands stops the recording and talks about light in a painting. Rands continues to talk about the uneasy relationship Vincent van Gogh and Paul Gaugin had with their fathers. He relates the “inner light†of Vincent van Gogh to his artistry; 31:05 Rands talks about two van Gogh paintings and the difference in light: “The Night Café†and “Café Terrace at Nightâ€; 33:00 Rands starts the next recording in relation to the two paintings about the night café; 37:20 Rands ends the recording and concludes with a painting titled [“The Dance Hall in Arlesâ€]; 39:00 Rands starts the final recording about the dance in Arles; 42:45 Rands ends the recording and thanks the audience for listening.
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