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[Others系列]：镜子Looking Glass-1080P高清迅雷网盘下载
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由蒂莫西·米勒（Timothy Miller）主持并于2005年由其他人出版的艺术纪录片-英语旁白Arts Documentary hosted by Timothy Miller and published by Others in 2005 - English narration
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在《 Looking Glass》中，我们会与Philip Glass一起，从创作的私人世界中逐步完成，与音乐家一起写出乐谱和初步彩排，再到录音室录音。菲利普·格拉斯（Philip Glass）在家里和表演中，通过人们与他的互动，向人们展示了他在纽约，波士顿，伦敦和巴黎的多重生活的电影.1970年代初，当菲利普·格拉斯的音乐引起人们的关注时，它为当时提供的所有其他内容提供了一种替代方案：岩石变得越来越复杂和学术化，其某些最具实验性的形式实际上与当代研究重叠；声乐变得越来越夸张，受交响乐团的困扰或受鼓机节拍器的束缚。同时，当代音乐开始出现，解决了鉴赏家越来越稀少的观众的问题，并用奥妙的，自命不凡的音乐学著作为自己辩护。《音乐在十二部曲》（1971/74）回归到坦率，欢快的节奏和几乎物理的听觉上，这是在新唱片公司维珍（Virgin）为新型现代前卫音乐定下了基调，这种音乐不需要冗长的解释。玻璃的即时而持久的成功是由不断扩大的听众，而不仅仅是由当代音乐专家组成的，这可能解释了这种永久性讨厌“现代”音乐的知识分子似乎使他受宠若惊：格拉斯从地下的另类作曲家那里成为当代音乐界公认的全方位人士。欧洲和美国的某些人从未接受过Glass'?音乐超越了当代音乐清晰的意识形态分界，其灵感源于多种来源（包括法国和印度），并且使流行与学术界的东西方融为一体。至于最后一点，菲利普·格拉斯无疑是其中之一。西方作曲家在整合和吸收从印度次大陆借来的作曲原理方面走得最远。他通过以下方式解释了西方音乐和印度音乐之间的区别：“在西方音乐中，我们划分时间-就像您要花费一段时间并像切一块面包一样对其进行切分。在印度音乐中（以及所有（我熟悉的非西方音乐），您可以将较小的单位或“拍子”组合在一起，以构成更大的时间值。”?我试图看看是否可以将这种音乐的形式原理融入我的作品中。我承认我仍然认为我没有完全成功。对于我的整个一代人来说，这是一连串的音乐，这首音乐充满了新鲜空气。它使我们以不同的方式来思考音乐。“这些极简主义循环的波光粼粼的优雅-无限变化，长度各不相同-暗示了一种基于节奏和起伏的基本运动，对时间的沉思是一种运动体验。正如达芬奇（Leonardo da Vinci）所说，“运动赋予各种形式以形状。结构是所有运动的形式。“玻璃音乐的这些独特特征在爱因斯坦的海滩上得到了充分展现，这是与剧院制片人罗伯特·威尔逊（Robert Wilson）联合创作的，1976年在阿维尼翁然后在巴黎上演。对于我们许多人来说，这是一个启示。这种音乐就像我们一无所知：好像我们突然发现自己在另一个世界中一样。格拉斯和威尔逊曾经In Looking Glass, we accompany Philip Glass step by step from the private world of creation, via the process of writing out the score and initial rehearsals with the musicians, to recording in the studio. At home and in performance, via the people we see him interacting with, Philip Glass rolls out the film of his multiple lives in New York, Boston, London and Paris.When Philip Glass' music came to people's attention at the start of the 1970s, it presented an alternative to everything else on offer at the time: rock was becoming more complex and academic, with some of its most experimental forms actually overlapping with contemporary research; vocal music was becoming increasingly overblown, encumbered by symphony orchestras or fettered by the metronome of the drum machine. Meanwhile, contemporary music had turned in on itself, addressing an ever-more rarefied audience of connoisseurs and justifying itself with abstruse, pretentious musicological texts.With its return to a candid, cheerful beat and almost physical feeling for sound, Music in Twelve Parts (1971/74), which was issued on a new label, Virgin, set the tone for a new kind of modern, avant-garde music that did not require lengthy explanations.Glass' instant, lasting success with an ever-expanding audience not made up exclusively of contemporary music specialists probably explains the permanent grudge the intelligentsia of "Modern" music seem to bear him: from underground, alternative composer, Glass became the acclaimed all-rounder of contemporary music. Some people in both Europe and the USA have never accepted the way Glass' music transcends the clear-cut ideological divisions of contemporary music, taking its inspiration from a number of sources (including French and Indian) and reconciling the popular with the academic, East with West.As regards this last point, Philip Glass is incontestably one of the Western composers who has gone farthest in integrating and assimilating compositional principles borrowed from the Indian sub-continent. He explains the difference between Western and Indian music in the following way:"In Western music we divide time -as if you were to take a length of time and slice it the way you slice a loaf of bread. In Indian music (and all the non-Western music with which I'm familiar), you take small units, or 'beats,' and string them together to make up larger time values," and adds, "I tried to see if I could integrate the formal principles of this music into my work. I confess I still don't think I've fully succeeded. For my whole generation, which was dominated by serialism, this music was a breath of fresh air. It allowed us to think of music in a different way."The sparkling grace of these Minimalist loops -infinitely varied and each of a different length- suggests a fundamental movement based on rhythm and undulation, a meditation on Time as an experience of movement. As Leonardo da Vinci put it, "Movement gives shape to all forms. Structure gives form to all movement."These uniquely original features of Glass' music were fully revealed in Einstein on the Beach, a joint creation with theatre producer Robert Wilson which was staged in Avignon and then Paris in 1976. For many of us, it came as a revelation. This music was like nothing we knew: it was as if we suddenly found ourselves in another world. Glass and Wilson had dreamed up a theatre based on a series of tableaux and images in which the visual and musical elements were of equal importance. Glass' composition echoed the sublime stateliness of Wilson's choreography, inviting the listener to join in with the ritual and the contemplation. This style -which was neither simplistic, nor more elaborate than neo-serialism- suddenly made a whole swathe of contemporary music seem outmoded. We were witnessing the birth of a new form of artistic expression, which was both visual and phonic and overturned notions of time and space. It became the music of a generation which was resolutely undogmatic, never tying itself down to one particular style, attracting new audiences and reconciling others with contemporary music. Philip Glass has remained faithful to his underground beginnings. Instead of sitting back and waiting for commissions, he anticipates. Now that he produces his own records, he is entirely free to decide what and how to create: he can form a group of musicians, do a tour and play wherever he likes -in galleries, universities, cinemas or remote villages, leapfrogging traditional distribution circuits and recovering the freedom of a space entirely dedicated to his creation. When he started out, Glass often performed in avant-garde artistic venues, but in recent years he has organised his own tours, performing in some unexpected places. When he travels the countryside with his marquee, with copies of his opera La Belle et la Bête or Godfrey Reggio's "silent" movie Koyaanisqatsi in his luggage, he is getting closer to audiences and reviving the tradition of stage-show as popular entertainment -the "boards" on which Stravinsky and Ramuz' Soldier's Tale and many other works of the 1920s and 1930S French avant-garde were first performed.Today, Glass has lost none of his impressive energy and is constantly composing new scores of all sorts, exploring many different avenues, including "traditional" opera, in commissioned works by the New York MET (The Voyage, 1992) and the Portuguese government (White Raven, for the commemoration of the Portuguese Discoveries in 1998).With his incessant activity and sense of theatre, he has managed to avoid the unhappy consciousness of the creative artist in search of an audience. One of the things that makes Glass so outstanding is the way he mixes genres -interweaving opera and instrumental music, film and incidental music, piano and chamber music with consummate panache, even going so far as to create a new art form in La Belle et la Bête, the staggering first example of a "film opera", and a 3D the video opera MoNstERs of GRAce, a joint creation with Bob Wilson first staged in 1998.The fact that he is one of the few artists to have achieved popular success in their own lifetime adds to his fascination.Extra: an eight-part interview with Glass about his childhood (when he and his brother used to break up piles of unsold 78s in the mezzanine of their father's shop), his teacher Nadia Boulanger, his early collaborations with Ravi Shankar and Bob Wilson, the composers of the past he owes most to and other composers of his own generation, and his recent work The Sound of a Voice, a diptych of chamber operas with a libretto by David Henry Hwang, which was produced by Robert Woodruff at the ART theatre in Boston (USA) in May 2003.
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【技术参数】——
视频编码: XviD
比特率: 1907/1823 kbps
Video 分辨率: 704x400
Video 画面比例: 1.760:1
音频编码: AC3
音频比特率: 192kb/s CBR 48000 Hz
音频语言: English
分集时长: 59/45 mins
分集数: 2
体积: 895MB/659MB
发布人：: Dentje【Technical Specs】——
Video Codec: XviD
Video Bitrate: 1907/1823 kbps
Video Resolution: 704x400
Video Aspect Ratio: 1.760:1
Audio Codec: AC3
Audio Bitrate: 192kb/s CBR 48000 Hz
Audio Languages: English
RunTime Per Part: 59/45 mins
Number Of Parts: 2
Part Size: 895MB/659MB
Ripped by: Dentje
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相关纪录片：
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Links
Further Information
Buy the DVD here
The official site of Philip Glass
Release Post
MVGroup.org (ed2k)
MVGroup.org (torrent)
DocsPT.com
Related Documentaries
Ravi Shankar: Between Two Worlds
Leaving Home - Orchestral Music in the 20th Century
How Music Works
Discovering Tchaikovsky
In Search of Mozart
The Genius of Beethoven
The Genius of Mozarts
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小贴士：【影视自媒体解说文案请移步：夏至文案解说网 www.xiazhi.vip】上一篇：纪录片部落--纪录片《[Others纪录片]最后的大陆TheLastContinent-1080P高清迅雷网盘下载》高清百度云1080p下载下一篇：纪录片部落--纪录片《[Others纪录片]玛丽莲·梦露：最后的日子MarilynMonroe:TheFinalDays-1080P高清迅雷网盘下载》高清百度云1080p下载
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发表于 2020-7-13 23:35:40
发表于 2020-8-15 13:43:00