Bober's Archive https://peertube.libertus.duckdns.org/c/bober_channel/videos This is a public archive of videos I save primarily from YouTube. None of them belong to me. Sat, 05 Sep 2026 07:07:54 GMT https://validator.w3.org/feed/docs/rss2.html PeerTube - https://peertube.libertus.duckdns.org Bober's Archive https://peertube.libertus.duckdns.org/lazy-static/avatars/9e4b1114-a0e7-494f-a1d9-e26527b10e5a.jpg https://peertube.libertus.duckdns.org/c/bober_channel/videos All rights reserved, unless otherwise specified in the terms specified at https://peertube.libertus.duckdns.org/about and potential licenses granted by each content's rightholder. https://peertube.libertus.duckdns.org/feeds/podcast/videos.xml?videoChannelId=2 <![CDATA[Evolutionary Tree of Life (Full Series) [UsefulCharts]]]> https://peertube.libertus.duckdns.org/w/mh2qFBxbAJYJTD8TBuWtpH https://peertube.libertus.duckdns.org/w/mh2qFBxbAJYJTD8TBuWtpH Sat, 05 Sep 2026 05:14:18 GMT Buy the chart:
https://usefulcharts.com/products/evolution-classification-of-life

CHAPTERS
00:00:00 Invertebrates & Fish
00:18:27 Reptiles & Birds
00:37:58 Mammals
00:57:43 Plants & Fungi
01:16:08 Evidence for Evolution

CREDITS:
Charts & Narration by Matt Baker
Animation by Syawish Rehman
Audio editing by Ali Shahwaiz
Theme music: "Lord of the Land" by Kevin MacLeod and licensed under Creative Commons Attribution license 4.0. Available from http://incompetech.com

ORIGINAL VIDEO

]]> Bober's Archive Education nonadult Evolutionary Tree of Life (Full Series) [UsefulCharts] Buy the chart: https://usefulcharts.com/products/evolution-classification-of-life CHAPTERS 00:00:00 Invertebrates & Fish 00:18:27 Reptiles & Birds 00:37:58 Mammals 00:57:43 Plants & Fungi 01:16:08 Evidence for Evolution CREDITS: C... <![CDATA[Beethoven | Piano Sonata No. 17 in D minor, "The Tempest" | Daniel Barenboim [OndaCC]]]> https://peertube.libertus.duckdns.org/w/f3m3xFEDzcrD81dxF63s3R https://peertube.libertus.duckdns.org/w/f3m3xFEDzcrD81dxF63s3R Fri, 04 Sep 2026 23:11:16 GMT Español: Sonata para Piano nº17 en Re menor, Op. 31, nº2 "La Tempestad"

1st Movement (Largo, Allegro)
2nd Movement (Adagio)
3rd Movement (Allegretto)

Work: Piano Sonata No. 17 in D minor, Op. 31, No. 2, "The Tempest"
Composer: Ludwig van Beethoven
Soloist: Daniel Barenhoim

ORIGINAL VIDEO

]]> Bober's Archive Music nonadult Beethoven | Piano Sonata No. 17 in D minor, "The Tempest" | Daniel Barenboim [OndaCC] Español: Sonata para Piano nº17 en Re menor, Op. 31, nº2 "La Tempestad" 1st Movement (Largo, Allegro) 2nd Movement (Adagio) 3rd Movement (Allegretto) Work: Piano Sonata No. 17 in D minor, Op. 31, No. 2, "The Tempest" Composer: Ludwig van ... <![CDATA[How I finished Mozart's D minor Fantasia (animated score) [The Music Professor]]]> https://peertube.libertus.duckdns.org/w/hUwbfeSVtu9D2ZPwzpNims https://peertube.libertus.duckdns.org/w/hUwbfeSVtu9D2ZPwzpNims Fri, 04 Sep 2026 23:07:56 GMT This animated score is part of a longer video: https://www.youtube.com/watch?v=drg5Vc3xjYk&t=1077s&ab_channel=TheMusicProfessor

Other videos about Mozart on this channel:
https://youtu.be/Zi-fdi4-hKY?si=9K1NFGPgaxZbK1c9
https://youtu.be/MzKxWhlZrhk?si=TukNIJ-Q0PWn192j
https://youtu.be/g-D_KLkoxi0?si=_vEjKwCLqgIMpYYc
https://youtu.be/qC4VCOa51u0?si=bLDoUMJO76rbEiL6
https://youtu.be/kWqECUy3tSk?si=3x2Ymtz4P_jwHrdF
https://youtu.be/80gxGnm1vMU?si=M0_Vu3vsmtKNTcPw

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#mozart #dminorfantasia #themusicprofessor

Edited by Ian Coulter ( https://www.iancoultermusic.com )
Piano by Matthew King (www.matthewkingcomposer.com)

ORIGINAL VIDEO

]]> Bober's Archive Education nonadult How I finished Mozart's D minor Fantasia (animated score) [The Music Professor] This animated score is part of a longer video: https://www.youtube.com/watch?v=drg5Vc3xjYk&t=1077s&ab_channel=TheMusicProfessor Other videos about Mozart on this channel: https://youtu.be/Zi-fdi4-hKY?si=9K1NFGPgaxZbK1c9 https://youtu.be/MzKxW... <![CDATA[Satie's MAGNIFICENT 'Hungarian' 5th Gnossienne - Full Animated Score [The Music Professor]]]> https://peertube.libertus.duckdns.org/w/g7rDFDfnutrJyEmz6gmRrR https://peertube.libertus.duckdns.org/w/g7rDFDfnutrJyEmz6gmRrR Fri, 04 Sep 2026 22:50:28 GMT Satie's 5th Gnossienne may have been the first of the set to be composed (possibly sketched as early as). At the time of composition, it would have been viewed as a musical absurdity but it's extraordinary sense of 'stasis in motion' prefigures many subsequent developments in 20th century music. The piece consists of a freely embellished tune, floating, as if endlessly, over a simple vamping accompaniment, but the effect, as always with Satie, is wonderfully fresh and modern.

In this longer video Matthew King explains the 5th Gnossienne in the wider context of Satie's life and times: https://youtu.be/pAqv0-39fcM?si=htwt3aqYHhFnRPaD

Erik Satie: Gnossienne 5

Pianist: Matthew King

Edited by Ian Coulter ( https://www.iancoultermusic.com )

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ORIGINAL VIDEO

]]> Bober's Archive Education nonadult Satie's MAGNIFICENT 'Hungarian' 5th Gnossienne - Full Animated Score [The Music Professor] Satie's 5th Gnossienne may have been the first of the set to be composed (possibly sketched as early as). At the time of composition, it would have been viewed as a musical absurdity but it's extraordinary sense of 'stasis in motion' prefigures ma... <![CDATA[When Erik Satie invented a new kind of music: Gnossienne 1 [The Music Professor]]]> https://peertube.libertus.duckdns.org/w/twP9RCQD7mNnfco9aQKb2i https://peertube.libertus.duckdns.org/w/twP9RCQD7mNnfco9aQKb2i Fri, 04 Sep 2026 22:45:31 GMT Erik Satie wrote seven Gnossiennes. The first is in F minor, and Satie probably composed it in 1890. It was published with two other Gnossiennes in a Paris magazine in 1893. Like his three Gymnopedies of 1888, Satie seems to have created a new genre of piano piece with a title alluding to antiquity. According to the 1865 Larousse dictionary, a Gnossienne was a ritual labyrinth dance created by Theseus when he defeated the Minotaur. But Satie’s involvement in a gnostic religious group (led by Joséphin Péladan who is pictured in the thumbnail), during the time of composition, probably influenced his use of the mysterious title.

Satie’s Gnossiennes are composed without barlines, and have a gently rocking accompaniment in the left hand, with an 'exotic' melody floating above it in the right hand. All the Gnossiennes use modes to create intriguing and mysterious melodic lines. The extraordinary simplicity of the musical texture and syntax belies the prodigious originality of the resulting music. Written before Brahms had composed his late intermezzi, these are fabulously experimental pieces in which the form consists of haunting melodic fragments which circle around without any specific direction or goal. In their circularity and stasis they seem to lay down a challenge to German 19th century dominance: music does not have to be developmental; neither does it have to be goal-directed or hierarchical. It can simply float along and be an evocative mystery. Needless to say, Satie’s music had a huge influence on leading composers of the twentieth century including Debussy, Ravel, Stravinsky, Poulenc and, later on, the American pioneer John Cage.

Erik Satie: Gnossienne 1

Pianist: Matthew King.

All 8 of Satie's Gnossiennes can be heard here: https://youtu.be/Olrn0CyGWp0?si=2nE2sULQsOoR2dXF
The 2nd Gnossienne can be heard here: https://youtu.be/B6OFHvHrtB8?si=8MSL1l17QhhWacG9
The 3rd Gnossienne can be heard here: https://youtu.be/BY8QDzsDrtQ?si=c1VJ0giwhrQZJxHb
The 4th Gnossienne can be heard here: https://youtu.be/2Oxhcu14GGo?si=M-hayOdcmR5pQEln
The 5th Gnossienne can be heard here: https://youtu.be/pAqv0-39fcM?si=cxk7_BRWlY9X20VA
The 6th Gnossienne can be heard here: https://www.youtube.com/watch?v=SXno82E6JrU
The 7th Gnossienne can be heard here: https://youtu.be/wH90IGcHQLM?si=t6NVdpiB_6Tb09j8
The 8th Gnossienne can be heard here: https://youtu.be/Olrn0CyGWp0?si=2nE2sULQsOoR2dXF

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Edited by Ian Coulter ( https://www.iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King

ORIGINAL VIDEO

]]> Bober's Archive Education nonadult When Erik Satie invented a new kind of music: Gnossienne 1 [The Music Professor] Erik Satie wrote seven Gnossiennes. The first is in F minor, and Satie probably composed it in 1890. It was published with two other Gnossiennes in a Paris magazine in 1893. Like his three Gymnopedies of 1888, Satie seems to have created a new gen... <![CDATA[Is This The Beginning Of Modern Music? (Satie: Gymnopedie 1) [The Musit Professor]]]> https://peertube.libertus.duckdns.org/w/wtZ2vhVLd2KGgKqrSsTXC3 https://peertube.libertus.duckdns.org/w/wtZ2vhVLd2KGgKqrSsTXC3 Fri, 04 Sep 2026 22:42:09 GMT Erik Satie wrote his three Gymnopedies in 1888. All three pieces are like different versions of the same music, and each is as radical and as beautiful as the one before. All three pieces have a lilting 3-in-a-bar rhythm, like a slow waltz with a held chord on every 2nd beat.

The first Gymnopedie is very famous. Its dream-like character has made it popular with film makers, and it has become a common ‘relaxing classic’. Listeners are consequently unaware just how shockingly radical this decidedly strange music must have seemed in 1888.

The music contains a number of elements which were highly unusual, even unique for the period: a subtle, almost bitonal use of modality; numerous dissonances and altered chords; a mysterious circling form; a melody like a procession of notes, often containing intriguing symmetries, and a radical tonal ambiguity. No less extraordinary is the stillness of the music; its non-progressive, non-developmental character - absolutely at odds with the prevailing Austro-German Romantic style of music of the period.

With his first Gymnopedie, Satie boldly laid down the gauntlet in redefining what music can be: something ambiguous, static, circular, ambient, evocative…. this is nothing less than the birth of modern music.

Erik Satie: Gymnopedie 1

Pianist: Matthew King

Satie's second Gymnopedie can be heard here: https://youtu.be/0Sr12K301jY?si=Jwb_joghs43N48F-

Satie's first Gnossienne can be heard here: https://youtu.be/4Y42P0G-kGY

Satie's second Gnossienne can be heard here: https://youtu.be/B6OFHvHrtB8

Satie’s third Gnossienne can be heard here: https://youtu.be/BY8QDzsDrtQ

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Edited by Ian Coulter ( https://www.iancoultermusic.com )
Matthew King (www.matthewkingcomposer.com)
Professor of Composition
Guildhall School of Music & Drama

ORIGINAL VIDEO

]]> Bober's Archive Education nonadult Is This The Beginning Of Modern Music? (Satie: Gymnopedie 1) [The Musit Professor] Erik Satie wrote his three Gymnopedies in 1888. All three pieces are like different versions of the same music, and each is as radical and as beautiful as the one before. All three pieces have a lilting 3-in-a-bar rhythm, like a slow waltz with a ... <![CDATA[Satie's MAGICAL 4th Gnossienne - Full Animated Score [The Music Professor]]]> https://peertube.libertus.duckdns.org/w/i3Frrp5byoSohupPJTPpyx https://peertube.libertus.duckdns.org/w/i3Frrp5byoSohupPJTPpyx Fri, 04 Sep 2026 22:36:11 GMT Satie wrote down the singular and magical piece (now known as his 4th Gnossienne although in fact he never gave it this title) in 1891. It consists of cross-rhythmic arpeggios in the left hand, moving in parallel motion through six harmonic regions. The right hand plays little exotic fragments over the top. The effect is absolutely enchanting. For more information about this Gnossienne, with the Music Professor's spoken introduction, watch this video: https://youtu.be/2Oxhcu14GGo?si=2JpxsLM-QFXUimOm

Erik Satie: Gnossienne 4

Pianist: Matthew King

Edited by Ian Coulter ( https://www.iancoultermusic.com )

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ORIGINAL VIDEO

]]> Bober's Archive Education nonadult Satie's MAGICAL 4th Gnossienne - Full Animated Score [The Music Professor] Satie wrote down the singular and magical piece (now known as his 4th Gnossienne although in fact he never gave it this title) in 1891. It consists of cross-rhythmic arpeggios in the left hand, moving in parallel motion through six harmonic region... <![CDATA[Gnossienne 3 - Satie's Mysterious Perfection [The Music Professor]]]> https://peertube.libertus.duckdns.org/w/vrSUEJDQDCVLYGFJSzFhgd https://peertube.libertus.duckdns.org/w/vrSUEJDQDCVLYGFJSzFhgd Fri, 04 Sep 2026 22:28:17 GMT Erik Satie wrote seven Gnossiennes. The third is dated 1890, Like its companions, Gnossienne 3 is radical in conception: It is in A minor and uses only minor chords throughout. Strikingly, the melodic material combines diminished triads (as a melodic shape) over minor chords, and the piece employs a mode of Satie’s invention: a ‘Hungarian minor’ scale with a sharpened 6th. In 1889, Satie had sketched and abandoned a 'Chanson Hongrois' for piano, sensing perhaps that the idiom was a little too conventional (since Liszt and Brahms had already made the Hungarian style popular earlier in the century). However, an element of the Hungarian style affected the modality of the Gnossiennes which he went on to compose in the 1890s. The third Gnossienne also makes extensive use of plagal harmonic progressions (with numerous drops down a 4th) generating a sense of continual downward movement, and frequent cross-rhythmic circling patterns (creating the effect of lostness) over extended plagal cadences. Towards the end of the Gnossienne he employs two expressive downward drops of a third, shortly before the final return of the melody. Satie also pioneered, in this music, an incantatory style that was to have a huge impact on composers in the 20th century. His striking use of accented semibreves with acciaccaturas was much imitated in 20th century music by Debussy, Stravinsky, Varèse, Messiaen and others.

All Satie’s Gnossiennes are composed without barlines, and they all have a gently rocking accompaniment in the left hand, with an majestic and mysterious melody floating above it in the right hand. All the Gnossiennes use modes to create intriguing and mysterious melodic lines. The extraordinary simplicity of the musical texture and syntax belies the prodigious originality of the resulting music. Written before Brahms had composed his late intermezzi, these are fabulously experimental pieces in which the form consists of haunting melodic fragments which circle around without any specific direction or goal. In their circularity and stasis they seem to lay down a challenge to German 19th century dominance: music does not have to be developmental; neither does it have to be goal-directed or hierarchical. It can simply float along and be an evocative mystery.

Satie’s music was enormously influential on several currents of twentieth century music: Debussy, Ravel, Stravinsky, Poulenc (who orchestrated this gnossienne - see below), Milhaud, Varèse, Jolivet, Messiaen and, later on, Cage, Feldman, minimalist composers, Birtwistle, Bill Evans, Brian Eno, quite a few film scores etc. etc.

Erik Satie: Gnossienne 3

Pianist: Matthew King

The first Gnossienne can be heard here: https://youtu.be/4Y42P0G-kGY

The second Gnossienne can be heard here: https://youtu.be/B6OFHvHrtB8

Poulenc's beautiful orchestration of the third Gnossienne can be heard here: https://youtu.be/-8t8mTIr-z4

All 8 of Satie's Gnossienne can be heard here: https://youtu.be/Olrn0CyGWp0?si=Sq7eiMIMWxgXhhw1

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Edited by Ian Coulter ( https://www.iancoultermusic.com )
Matthew King (www.matthewkingcomposer.com)
Professor of Composition
Guildhall School of Music & Drama

ORIGINAL VIDEO

]]> Bober's Archive Education nonadult Gnossienne 3 - Satie's Mysterious Perfection [The Music Professor] Erik Satie wrote seven Gnossiennes. The third is dated 1890, Like its companions, Gnossienne 3 is radical in conception: It is in A minor and uses only minor chords throughout. Strikingly, the melodic material combines diminished triads (as a melo... <![CDATA[Satie’s Rarest Gnossienne [The Music Professor]]]> https://peertube.libertus.duckdns.org/w/wnhqAHEQhVgmPrfnvU6i49 https://peertube.libertus.duckdns.org/w/wnhqAHEQhVgmPrfnvU6i49 Fri, 04 Sep 2026 22:21:06 GMT In this video Matthew King plays Erik Satie's 7th Gnossienne, a beautiful and rarely performed work, closely related to the much more famous 1st Gnossienne. This music was originally part of Erik Satie's extraordinary score for Act I of a poetic drama by Joséphin Péladan called 'Le Fils des Étoiles'.

You can hear this music in its original context of Act I of 'Le Fils des Étoiles' in this video: https://www.youtube.com/watch?v=Et-WOhvTxwo

Erik Satie: Gnossienne 7
Pianist: Matthew King

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Edited by Ian Coulter ( https://www.iancoultermusic.com )

ORIGINAL VIDEO

]]> Bober's Archive Education nonadult Satie’s Rarest Gnossienne [The Music Professor] In this video Matthew King plays Erik Satie's 7th Gnossienne, a beautiful and rarely performed work, closely related to the much more famous 1st Gnossienne. This music was originally part of Erik Satie's extraordinary score for Act I of a poetic d... <![CDATA[Guillaume de Machaut: Douce Dame Jolie | La Morra [Muzyka w Raju]]]> https://peertube.libertus.duckdns.org/w/2FMYeUDbyqrme88wypFun6 https://peertube.libertus.duckdns.org/w/2FMYeUDbyqrme88wypFun6 Fri, 04 Sep 2026 22:17:10 GMT Guillaume de Machaut (c. 1300 - 1377)
Douce Dame Jolie

La Morra:
Corina Marti (recorder),
Michał Gondko (luthe),
VivaBiancaLuna Biffi (voice, vielle),
Marc Mauillon (voice)

If you like this video you may also like:
https://youtu.be/i8Tf1mBzups
https://youtu.be/FMsOszNAr4A
https://youtu.be/egjHUpR44MQ
https://youtu.be/lhqfMK2-zvU
https://youtu.be/kkY8o6kD_Ks
https://youtu.be/6xf86Xjqzps
https://youtu.be/ZsHbvWsHzAc

Directed & edited by Wojciech Zych ©

http://www.muzykawraju.pl
http://www.facebook.com/muzykawraju

ORIGINAL VIDEO

]]> Bober's Archive Music nonadult Guillaume de Machaut: Douce Dame Jolie | La Morra [Muzyka w Raju] Guillaume de Machaut (c. 1300 - 1377) Douce Dame Jolie La Morra: Corina Marti (recorder), Michał Gondko (luthe), VivaBiancaLuna Biffi (voice, vielle), Marc Mauillon (voice) If you like this video you may also like: https://youtu.be/... <![CDATA["I'm a Barbie girl" but it's a three voice fugue! 🎹 🎤 - Josep Castanyer Alonso]]> https://peertube.libertus.duckdns.org/w/5aVmURbNxfCMSgWak6GccD https://peertube.libertus.duckdns.org/w/5aVmURbNxfCMSgWak6GccD Fri, 04 Sep 2026 21:55:13 GMT 🎹 Sheet music transcription: https://payhip.com/b/n7A96

After the overwhelming success of the Swedish ice-cream truck fugue (https://youtu.be/ZV0e7vd0mL8), it was about time to transform yet another famous tune into a fugue.

Few pop songs are as catchy as Aqua's hit "I'm a Barbie girl". Here, it becomes a three part fugue, following its traditional structure and backed with some explanatory graphics.

A fun summer project, an homage to pop music of the 90's and a way to get back into piano! 😀

Piano, audio and video edition, composition: Josep Castanyer Alonso

]]> Bober's Archive Music nonadult "I'm a Barbie girl" but it's a three voice fugue! 🎹 🎤 - Josep Castanyer Alonso 🎹 Sheet music transcription: https://payhip.com/b/n7A96 After the overwhelming success of the Swedish ice-cream truck fugue (https://youtu.be/ZV0e7vd0mL8), it was about time to transform yet another famous tune into a fugue. Few pop songs ... <![CDATA[Pedicabo Ego Vos - Roman Song [Farya Faraji & World Musicians]]]> https://peertube.libertus.duckdns.org/w/unJ752BRYgvoBx1VaqaKqx https://peertube.libertus.duckdns.org/w/unJ752BRYgvoBx1VaqaKqx Fri, 04 Sep 2026 21:37:56 GMT Vocals & music by Farya Faraji. This is another approximation of what ancient Roman music could have sounded like based on the available data, once again using period poetry as the basis for the reconstruction. Roman poetry used the language's short vs long vowel distinction and subsequent stress rules to create poetry based not on rhymes, but on the prosody, creating a rap-like effect with different metres. Therefore, the poems already contain a blueprint of a melodic skeleton with natural indication of where pitch should rise and fall, and applying to this a melody using the attested Greco-Roman modes and their instruments, one can achieve a workable approximation based on the limited data we posess. For more information on Ancient Roman music with academic sources, I refer you to the Epic Talking playlist of video essays on the channel. The mode used here is one of the Greco-Roman chromatic modes, a genus with a distinctly jazz-like sound to our ears due to the close aggregation of direct semitones one after the other. The instruments used are frame drums and aulos.

This is one of Catullus' famous poems. Catullus (c. 84–54 BC) was a Roman lyric poet whose short, intensely personal poems transformed Latin literature by shifting it away from public epic and political themes toward private emotion. Drawing on Greek lyric models, he introduced a new poetic voice centered on love, jealousy, friendship, grief, and invective, written with technical precision and emotional immediacy. His work—especially the poems addressed to Lesbia—set the foundation for later Latin poets such as Virgil, Horace, and Ovid, and permanently established lyric subjectivity as a central mode of Roman poetry.

Lyrics in Latin:
Pēdīcābō ego vōs et irrumābō
Aurēlī pathice et cinaede Fūrī.
quī mē ex versiculīs meīs putāstīs
quod sunt molliculī parum pudīcum.
nam castum esse decet pium poētam
ipsum, versiculōs nihil necesse est
quī tum dēnique habent salem ac lepōrem
Sī sint molliculī ac parum pudīcī
et quod prūriat incitāre possint
nōn dīcō puerīs sed hīs pilōsīs
quī dūrōs nequeunt movēre lumbōs
Vōs quod mīlia multa bāsiōrum
lēgistis male mē marem putātis.
Pēdīcābō ego vōs et irrumābō

English translation:
I'll fuck you in the ass and down the throat,
Anal Aurelius and facial Furius,
For deeming me indecent and effete,
A pansy author writing small soft verses.
A goodly poet's life must needs be pious,
But it's unnecessary in his verses.
Lines lie unspiced, unwanton and unwitty
Until they get indecent, with small, soft
Ticklings enough to stoke the nether needs
Not in young boys, but aged and bushy-backed
Men with arthritis of the crotch. You read
The thousand kisses from one woman packed
In my tight lines, and call me girl? Take note:
I'll fuck you up the ass and down the throat.

]]> Bober's Archive Music nonadult Pedicabo Ego Vos - Roman Song [Farya Faraji & World Musicians] Vocals & music by Farya Faraji. This is another approximation of what ancient Roman music could have sounded like based on the available data, once again using period poetry as the basis for the reconstruction. Roman poetry used the language's sho... <![CDATA[Never Gonna Gifugue Up 🕺🎤 - A 4 voice fugue, but you got rickrolled]]> https://peertube.libertus.duckdns.org/w/c2CydN3e96Z3NVag3i9KrP https://peertube.libertus.duckdns.org/w/c2CydN3e96Z3NVag3i9KrP Fri, 04 Sep 2026 18:11:51 GMT 🎹 Sheet music transcription: https://payhip.com/b/JKcSC

Following the fun of "Barbie Girl in the Style of 6 Classical Composers" last summer, the series of fugues based on annoying tunes was due for a sequel.

This time, the contrapuntal throwback takes us to the '80s with Rick Astley’s hit “Never Gonna Give You Up”—famous in its day and even more popular thanks to Internet meme culture and the "rick-rolling" frenzy of the early 2000s.

I've developed the irritatingly infectious short initial motive of the tune into a 4 voice fugue, showcasing the structure with motion graphics and light-hearted commentary. As for the animations, I have also been experimenting with new callout box styles with running parts of the score—I hope they enhance the visualisation of the music!

Also, make sure to check out the behind-the-scenes video that Robin and Isak created for this production to get a glimpse of the creative process we went through: https://www.youtube.com/watch?v=_nzgTQ9JE3Y&feature=youtu.be&themeRefresh=1. Robin and Isak are currently working on a documentary about my life as a musician, which is part of a captivating series featuring some truly fascinating individuals as well as me. Stay tuned for the full documentary—it’s almost here!

Enjoy the video. 😊

]]> Bober's Archive Music nonadult Never Gonna Gifugue Up 🕺🎤 - A 4 voice fugue, but you got rickrolled 🎹 Sheet music transcription: https://payhip.com/b/JKcSC Following the fun of "Barbie Girl in the Style of 6 Classical Composers" last summer, the series of fugues based on annoying tunes was due for a sequel. This time, the contrapuntal th... <![CDATA["Angry Birds" but it's a three voice fugal invention! 🎹 🦉 - Josep Castanyer Alonso]]> https://peertube.libertus.duckdns.org/w/8b6i32SSnxr7m4hFgFL9kT https://peertube.libertus.duckdns.org/w/8b6i32SSnxr7m4hFgFL9kT Fri, 04 Sep 2026 17:50:13 GMT 🎹 Sheet music transcription: https://payhip.com/b/PH20D

After the Barbie Girl Fugue (https://www.youtube.com/watch?v=qsE7H6YPfco), it was time for more fugal nostalgia, this time from the 2010s!

For this video, I wrote, played, and recorded a three-part invention in fugato style based on a short but very recognizable motif from the Angry Birds game soundtrack.

I tried to showcase the contrapuntal structure and formal evolution of the piece with my habitual self-made visuals —which are a bit more complex (and cool!) this time— emphasizing the concept of a motivic cell and its transformations.

I hope it can be a fun way to whet the viewer's appetite for the study of counterpoint! ☺️

]]> Bober's Archive Music nonadult "Angry Birds" but it's a three voice fugal invention! 🎹 🦉 - Josep Castanyer Alonso 🎹 Sheet music transcription: https://payhip.com/b/PH20D After the Barbie Girl Fugue (https://www.youtube.com/watch?v=qsE7H6YPfco), it was time for more fugal nostalgia, this time from the 2010s! For this video, I wrote, played, and recorde...