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Hey! I'll join the competition too, if that's ok. I have the need to write something in a romantic style again!

Just buy a bottle of ink, immerse a small cloth inside, hold it above some staff paper, move it around a bit, and see where the drops fall. Then notate it. Thank me later.

Furthermore, musiotics being a science in it's infant stage, sadness expressed through a major scale presents a paradox, " The emotional impurities ", where both the north & south musical polarities merge together in harmonious chaos. These although very old musical moods in human history i refer as " Atypical Conjuctions ", the impurities which people easily take for granted as being conventional & natural & they are. These complex hybridals can present themselves as bidimensional, tridimensional, or even quadimensional simultaneousities that can be illustrated as coordinate chaos within a 3-dimensional cuboid. Happiness in a fast tempo in a minor scale merely impurifies the tonal scale through velocity & i am dealing with pure emotional logic at hand at first. Atonal works? I 've composed them, very good ones, even better than are available on the net but that is another argument because these type of works are very complicated & cannot be stressed in the beginning as examples to deal with along the the elemental phase of musiotics. I don't care much for perfect grammar premeditatedly since i am also at the stage of experimental linguistics in my personal studies, as for the color, that's what is there for. :dunno: :censored: :sith: :evil:

Well jrcramer you are right technically speaking but one has to start somewhere as to the fundamentals not all of a sudden dealing with all the contradicting intricasies then as one progresses one can deal with more in-depth analysis & non-contraverted affirmation taking into account all diametric factors of what i call Musiotics. :nod:

All things considered, for the sake of argument, & overall perhaps when one is happy the pleasure chemicals are dominant therefore pointing to the major scale & other emotions like bliss produced by harmonies like 7ths thus the brain is intoxicated positively as opposed to the minor scale which gives way to anger a negative emotion which the brain in turn is in psychological distress not to mention fear produced by acute chromatics. Furthermore, the four basic emotions & their polarity are as follows:Happy=positive Anger=negative Sad=negative Fear=negative Thus no wonder some or the majority of people are in some psychological distress or another & depression problems, the negative polarity of emotions over positive by the main margin are 3 to 1. And thus being a kompozer is not easy since kompozers deal with the emotional language more than most people. :veryunsure:

Nobody wrote, that he/she needs extra time. There are 4 entries, if I count well, but I have to wait for one more day, because somebody sent only the mp3, but not the score. After it, I tell the results, and I write detailed comments on every piece, here :)

With the current lineup of YC heavyweights signing in for this one, I've gone from "home-field advantage" to total underdog in the last 12 hours. This is going to be really exciting...

This seems to be filling up fast, so I should probably say yes before there's no spots left. I may have to back out later since June looks like it is going to be a busy month, but I have a feeling it might be okay. I had already been working on something because of the hint that had been given out, but now it looks like that's going to be put on the back burner. Damn. ;) Is the motif going to be taken from Romantic repertoire, or do we just have to wait and see?

When the ghost of Mozart shakes your hand and tells you 'Bravo! Ihr Stück ist würdig durchgeführt werden in einem Konzert!'

Hard to grasp these concepts are. Feel sometimes I that reading am I the posts of a great master... Jedi Master Yoda. On a serious note, I'd point out that "tragedy in music", rather than an advanced trait in a composer, is an effect of a composer being able to pour his life experiences into music with both skill and honesty. But a musician might as well to strip his music of emotional traits and write in an increasingly abstract fashion - which is not bad in itself, as long as he doesn't think himself as the only smart guy in the block just for doing this. Both are equally valid artistic statements, when done with integrity.

Is today's music bad? Yes and no. Today's pop music, as in the music that you can find on the Billboard charts, tends to be less complex than that of the recent past in relation to traditional counterpoint, literary quality, and harmony/melody (compare today's pop to the jazz standards of the 20s to 60s or the classic rock scene of the 80s for some proof). However, that doesn't make new pop music bad. Bad is a judgement call. A piece can be good simply by virtue of its ability to make you want to move or dance. And something else to keep in mind is the tech that goes into today's music. Sounds are manipulated with computers in ways that could not have been done previously. I can't stand some of it (dear auto-tune, please die except when being used for satirical or ironic purposes), but the new methods in computerized sound manipulation give today's pop music a unique sound, and may even become the focal point of a new piece, especially when the other musical aspects are watered down. In the realm of so-called "serious" music, or music that people learn to write by studying "classical composers" or "concert works" (poor jazzers, self-taught composers, folk music performers/writers, etc., that live in the world between pop and academic circles), there is also no specific answer. Is the new music bad? Some is, some isn't. The idea of a composer as one who goes to school to study composition is really faltering, largely because of back-assward curriculums and the distance that academicians like to create between their work and the stuff that people tend to pay more to hear. And there's the fact that school's do not often prep you with the tech aspects prominent in today's world of composition (how many comp schools require that their students take a class on a music notation program or learn how to work proficiently and efficiently with a DAW?). I had a masterclass with composer Frederic Rzewski yesterday, and he felt that, much like the painter, the composer is a dying breed and perhaps not so relevant, at least in a traditional sense, to today's society. Whose duty is it to revise academia and perhaps make it more inclusive and well-rounded for today's world? Should the academic beast be left to collapse under its own weight? I feel more and more that a composition degree is pointless (consistent one-on-one lessons with composers and self-study would be just as, if not more, useful, as long as you still had a community of musicians, especially performers, to interact with). What is the role of today's composer? Should music literacy be a requirement from a young age? Where does the music of non-western cultures fit in? Why don't we learn more about rhythm? Do the curriculums of today stifle musical creativity? Just some things I've been thinking about recently.