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In Reply to: RE: Excellent! Yeah, I'm pretty sure if a composer could put into words what the objective is... posted by musetap on May 10, 2016 at 09:57:40
How does one pen a musical journey yet hold the piece together? In other words, give themes and movements their own unique personalities yet make sure they still have Daddy's eyes?Composers go about it in different ways, using different methods, some in the listener's "mother tongue", some not. Or some might dispense with process "x" altogether. This is where hell seems to break loose.
IMHO it helps to know *how* the composer tackles that issue and from what angle, hence "understanding the composer's objective."
Is the piece not tonal? OK, that means I'll have to listen to Babbit and Obrecht (why do people never bash the the more esoteric Polyphonists?) from a different POV and probably more than once. It's my job and sometimes it pays off, sometimes it doesn't.
Edits: 05/10/16 05/11/16Follow Ups:
There is mental muscle involved in any type of music appreciation but, OTOH, I'm not so sure that it's my responsibility to try to defend or justify the music that meets my ears.
Or could it be that some people's ears are like silky moist vaginas, while other people's ears are like relatively dry assholes?
Seriously, what is the crux of the question here? And are there certain questions that should not be asked of anyone?
right: my ears, once overly moistened from hanging out on Wagner's Rainbow Bridge for too long, couldn't initially register the faint humidity of Debussy's Pelleas.
Speaking of fun, where's Newey?
Not worth it? ;-)
OTOH, it's still very worthwhile (for me anyway, and even as a rear-guard action), to bash the serialists. As their influece continues to ebb away, they'll probably be like the esoteric polyphonists in another century or two (i.e., not worth the effort to bash). Tchaikovsky? I think he'll still be going strong! After all, who can ever tire of his magnificent self-pity? ;-)
Never heard that term before, ever!
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