Here are a couple of stereotypes which I have heard from instrumentalists whom I have known:
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Some university students have noticed that instrumental students do better in sight-singing class than vocal students.
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Since instrumentalists always accompany vocalists and never the other way around, they get the idea that they are superior to instrumentalists. If they make an error in rhythm, they expect the instrumentalist to accommodate that error.
Here are a couple of jokes which I got off the Internet:
How many sopranos does it take to change a light bulb?
One. She stands still while the world revolves around her.
How many sopranos does it take to change a light bulb?
Two. One stands on a chair and the other pulls the chair out from under her.
I plead guilty to holding these stereotypes myself.
What are 5 composers that wrote similar music ( classical or show Broadway music) to Leonard Bernstein and at the same time as him
What if a composer writes a composition for an orchestra that has trumpets and flutes and they both have different music scales?
Since those instruments can’t be played in a chromatic scale, what would happen if the trumpet was in the key of Bb and the flute was in the key of G?
In this particular case, do you buy more instruments that are in different keys?
I am trying to figure out exactly how composers create weather effects in music. For example, I’ve determined that composers can make a rain sound by using staccato notes, and sudden crescendos and decrescendos can be used to simulate wind. What specific compositional techniques do composers use to make listeners picture fog, wind, rain, storms, snow, thunder, sunshine, seasons, etc in their music?
Thanks in advance!
PLEASE don’t give uneducated, unthought-through answers! I adore classical music, and am a faithful student of its history and performance. Give real opinions! 
The obvious example of this would be George Gershwin, but I was trying to think of some other examples, such as:
Leonard Bernstein – if you include “Broadway musicals” in the “Pop” category
Frank Zappa – composed several avant-garde orchestral works, like those on the “Perfect Stranger” and “LSO, Vol. 1 & 2″
Joe Jackson – educated at the Royal Academy of Music, and released 2 albums of instrumental compositions (”Will Power” and “Symphony #1″), thought to call those works “classical” is a stretch.
Anyone else you can come up with?
I want to rent some classical cds from my local library. But I don’t really know the best composers to look for. CD and composer suggestions are both appreciated.
I’m new to classical music. I do think I like it in general but so much of it seems to be really effeminate and tinkling and just, as a death metal fan, not really what I’m into. I also would like to listen to some faster pieces. A few songs I do like are Liszt’s Tarantella, Wagner’s Ride of the Valkyries (even though it’s too theatrical/meant for the stage) and Beethoven’s 7th Symphony. Also, I’d like some recommendations on particular songs of Mozart’s.
Lately, I’ve been listening to mainly 1300-1800 style music (Baroque, Renaissance, Classical, etc.), and I want to listen to some modern at the moment.
Any classical will do fine, I prefer orchestra pieces, and often more darkly sad or beautiful pieces.
Any recommendations?
Valveless orchestral horns from the late 18th and early 19th century were generally able to equip all crooks from C alto down to B flat basso, but there are a few examples of higher and lower horn crooks (Mozart’s 19th symphony called for high Eb horns, and supposedly there are a few A basso horn parts in existence.) Is there any evidence as to what the absolute highest and lowest natural horn crooks EVER called for in classical music are?