The generation that doesn't like to pretend to be X is the Beat Generation!
Each generation has a different mode of X:
The eighties flared pants, wavy head, breakdancing;
The nineties big brother, Santana, rock and roll;
The new era of the new century, looking at the circle of friends, basically "holding Starbucks, feet on the foot of the AJ shoes, humming Rap on the mouth!
The new era of the new century, looking at the circle of friends is basically "holding Starbucks, feet on AJ shoes, mouth hum Rap" configuration.
At this time, how to show their own taste of fresh and vulgar, is the top priority of your fight and upgrade.
The following classical music X manual is for you who do not want to fall into the cliché.
It only takes 5 minutes to get you on the road to high B, and you'll be riding high!
Here's what I'm going to tell you about these basic knowledge and practical principles:
One, familiarize yourself with at least 5-8 musicians' names, 3 musicians' works
When it comes to favorite musicians, try to avoid mentioning: Bach, Beethoven, Mozart, and so on.
You don't want to say "I like to listen to Bach/Beethoven/Mozart." when you can name classical giants that even a square dancer can name. (This doesn't apply to the real classical greats.)
Not only is this a grossly uninspired response, but it doesn't show your taste for the highbrow and unique.
This is where you need to talk about musicians who are relatively unknown to the layman,
but who, when you mention them, everyone reacts with an "oh, that's him" kind of response.
For example: Dvorak, Mendelssohn, Schubert, Handel, Haydn.
Inadvertently, the light of the B frame began to shine.
A few more names to spare:
Ravel, Brahms, Rachmaninoff, Shostakovich.
PS: the more awkward the name, the more you say the slicker, feel with the knowledge of their family up and down the five thousand years, as the same, seem to be the higher B style.
Second, talking about favorite music, all well-known musicians with the name of the work, do not mention.
If you say:
I usually like to listen to classical music, such as Beethoven's Symphony of Fate / Chopin's Nocturne / Tchaikovsky's Swan Lake.
I'm afraid the other person won't look at you like, "Oh, I'm glad you're happy".
After all, your attempts at pretending to be in an X mood are too obvious.
But if you say,
"Smetana's Vltava / Sibelius' Ode to Finland / Wieniawski's Legends... I like them all".
At this point, what you'll get is a "wow, you know a lot" look from the other side.
The first thing you need to know is that the music of the past is the most important part of your life.
Most of the music of the past is untitled, and the rest of the music of the past is titled "The Future of Music".
So if, when describing favorite music, you can say, "I quite like Mendelssohn's Violin Concerto in E minor."
This is despite the fact that you have no idea what a concerto is for, or what minor means. It doesn't matter, none of that is the point!
The point is that, seemingly without realizing it, you've shown yourself to be a connoisseur. It's not a bad trick!
And so on:
Brahms' Hungarian Dance No. 5,
Dvorak's Symphony No. 9,
Rachmaninoff's Piano Concerto No. 2 and Piano Concerto No. 3.
If you can flippantly say:
"I've been more in love with Schubert's D957 lately, and I got a bit tired of playing BWV1041 on a loop some time ago".
At this point, you're glowing with the light of "I'm not ashamed to be me".
The above works, please recite, memorize.
Third, the content is supreme, the data as evidence.
1. In addition to familiarizing yourself with the names of more musicians, it is important to understand the approximate musical styles of the musicians you know, their relationship with each other, and some of the production data.
For example:
Haydn, the "father of the symphony", was Beethoven's teacher
In fact, the relationship between the master and the apprentice lasted for about a year, and then broke up peacefully because of the musical style.
For example:
Haydn was a court civil servant with KPIs, so he composed more than a hundred symphonies in his lifetime.
Mozart was considered a genius by the industry, putting pen to paper and composing four dozen symphonies, and spending the rest of his time writing all sorts of other categories of music, operas, dance dramas, and spreading his wings everywhere.
Beethoven was a late bloomer, and his eventual deafness led to certain creative constraints, with only nine symphonies in terms of fewer and better.
Such as:
Haydn style pro-people lively, occasionally teasing;
Beethoven bitter and hateful, compassionate and broad;
Mozart free and dynamic, inspired to fly.
What's the point of having to know all this?
Well, it's basically nothing useful, it's just there for you to show off.
In a casual flick of the lips, it gives you the illusion that you must have listened to a lot of classical music to be able to summarize it. It creates a sense of sophistication in people's hearts.
2. In the middle of the conversation, we threw in one or two little bits of knowledge and stories about musicians, seemingly without realizing it.
For example,
When talking about pop music, you can say that pop music often borrows tunes from classical music.
You could give a chestnut:
S.H.E's "Don't Want to Grow Up" comes from Mozart's Symphony No. 40.
A second chestnut:
Lady Gaga's intro to Alejandro draws on the tune of a Hungarian folk dance called "Chardash".
A third chestnut:
The adorable children's song "Twinkle, Twinkle, Shine" evolved from Mozart's piano sonata "Variations on a Star".
It's hard not to stand out when segments like this are flung out, appropriately enough, once or twice without a second thought.
However, it is important to keep in mind to which people have dumped which paragraphs, the same person repeated use, will cause unnecessary embarrassment, you all understand.
3, master some of the most basic music theory knowledge, the knowledge of the explanation of the blurred, conceptualization, so that the listener is not clear.
For example:
To explain to others the major key, minor key, you can summarize:
Generally cheerful and bright is the major key, and sad and soft is the minor key.
If someone continues to ask, how else can you define major and minor than by this subjective feeling?
And of course you already have a foolproof plan, telling TA with a slight smile:
"In terms of scale, the scale structure of a major key is all-full-half-full-full-half, and that of a minor key is all-half-full-full-half-full."
The average person who is not a music student is already baffled when they hear this. Of course, you don't know what the scale structure is, so this time, you have to quickly change the subject, pretending to be relaxed and easy to say:
"Of course, this needs to have a certain knowledge of music theory in order to understand, so the average listener just need to understand that the happy and bright is the major key, and the sad and soft is the minor key on it."
This way, you will be able to understand the scale structure of the major key, but not the minor key.
Not only does this take you out of the "average listener" category and emphasize your status as a "seasoned" fan, it also slaps those who are looking at you funny in the face, making it a one-two punch!
? Avoid going into more detail, and change the subject later, so as not to instantly expose the truth you know nothing about.
Well, the above is all the essence of this manual. As long as you practice diligently according to the above three points,
inside and outside the circle of friends, you will be the one who shines the brightest boy.
Don't thank me, my name is Red Scarf.