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  1. 5 points
    My Piano Sonata No.1 in F Minor composed in 2018. The sonata has 3 movements and is written in a romantic style. The first movement is in rondo form. The second consists of a prelude and a short fugue, and the final movement is more free in its form. The sonata is inspired by some of the works of Chopin and Beethoven. I'd be interested in any feedback. Sorry about the awful recording quality.
  2. 5 points
    The suite's finally up! A lot of movements have been posted here already, but it is a different experience all the way through (if I do say so myself 🙂). Movements 3 and 5 have not been uploaded here before if you want to skip to those, though. Enjoy!
  3. 5 points
    Here is a little impromptu I wrote a few weeks ago. What do you think ?
  4. 5 points
    Hi all, I've not posted anything here for quite a while, been busy with other things, but I've also been working to finish my first fully orchestrated piano concerto. The first movement was posted here about a year ago, but the second and third movements are new. The first movement has also been edited and hopefully improved as I added a short cadenza that I felt was missing from the first movement, as well as changing the odd passage here and there. Anyway, I'm pretty pleased with the final edit. As always, any comments are welcome and gratefully received.
  5. 4 points
    I don't know why more people don't want to do competitions, you're GUARANTEED peer review and a bigger platform to share your music. I'm open to any ideas, I'm thinking solo piano or something similar and simple. Let me know if you're interested and in about a week we'll see who wants to participate and what theme we should use etc. etc. If there are obvious skill differences then we could break it up into groups, but come on people let's get a good group together and see what we all come up with.
  6. 4 points
    Here is my piece for the Secret Santa event. I finished it. And very quickly too. EDIT: @Left Unexplained said that I had to include the topic that I got as well as my piece, so here is the topic I got:
  7. 4 points
    Here was my topic for the Secret Santa event: "I'll keep this topic simple -and fairly abstract. One of the things, in my music, that I often write about is life and death. So, the topic that I choose will be within this abstract area: life, mortality, death, rebirth, lessons learned in life, philosophy of life." Wasn't sure whether or not to include the author, so I'll abstain for now, but I hope you enjoy the piece... though it is admittedly very theoretical.
  8. 4 points
    Hello everyone, It has again been a while since I have posted anything, and I have a new piece to show you all: the Fantasy-Variations in G-sharp minor. This piece was written in 2020. The theme is based on an aria from the 1967 opera "Grigory Melekhov" by the composer Ivan Dzerzhinsky. Ivan Dzerzhinsky (1909-1978) was a Soviet composer and pianist, best known for his operas and popular songs. His most famous work is the 1935 opera "Quietly Flows the Don" (based on the novel of the same name by writer Mikhail Sholokhov), which was a success at its premiere, and which launched Dzerzhinsky's career as a composer. He continued writing operas over the next several decades, including "Virgin Soil Upturned" (from which the duet "The Cossack Song" has since become popular among Russian ensembles), "Fate of a Man", and of course, "Grigory Melekhov" (also based on Sholokhov's novel). Aside from operas and vocal works, he also composed piano concertos and piano suites. His music usually is quite traditional and accessible, many pieces bearing similarities to Mussorgsky and even Puccini. With the exception of "The Cossack Song", his works receive very few performances today, and they are almost entirely within Russia. Furthermore, he has been labeled a "hack" by musicologists for his musical style, and for his status within the Soviet Union. I wrote this piece because I thought Dzerzhinsky's melody was too beautiful to be forgotten, and I wanted to make it available to other people, as well as to add something new to it; this is not meant to be a political piece. All that said, I hope you all enjoy the piece. 🙂 Also, for those of you who are interested, here is the original theme:
  9. 4 points
    The second movement of my piano suite. It'll be released as a full piece in about a week or so, but this is my second favorite movement in and of itself! I know it's based off of some prime form I was working off of, but I don't remember what it is now 😅
  10. 4 points
    I'm a doctor for what's its worth. Please everyone, relax. Certainly, there is concern particularly for the high risk elderly and those with complex medical issues but for the vast majority of people, this is really similar to a bad flu which is also high risk in elderly and patients with complicated medical issues (yet people still don't vaccinate for this......). Take the usual precautions by good handwashing/hygeine, avoid large crowds when possible, and look after your loved ones who are higher risk. The hysteria can be worse than the disease itself.
  11. 4 points
    I see. Then you obviously do not require our feedback here. Good luck
  12. 4 points
    "Marcia Funebre" for Piano Here a little funeral march that proably I will generate a more developed pice from it: Marcia Funebre (3).mp3 Marcia Funebre.pdf Open for suggestion and feedback! ADVICE! The dynimic notation is still not finished.
  13. 4 points
    I don't know how much music history you've studied up to this point, but this whole notion of material-based originality came from the genesis of the Romantic era, where the advancement of middle-class music making along with the general advancement of music printing/publishing combined. Composers started using super fancy/exotic-sounding titles and used increased harmonic changes to be more expressive and have their pick at the newly free market. I'll elaborate on my own opinions/answer more of the proposed questions if this discussion gets more lively, but I'm more a fan of the way the Classical era dealt with originality, where quality was based upon how well you could use old forms and conventions in your own style/ways. It doesn't sound very modern to us because it was their styles, but Haydn's and Beethoven's music were pretty novel when they were written. The modern era has taken this Romantic ideal of expression and newness to its extreme, trying to push progress without having the patience for it. The elitism and high-artness of modern classical music generally glosses over the music most people will listen to; how subtle its changes are to formulas, but how effectively catchy the songs are. Maybe my thoughts on this will change over time.
  14. 4 points
    Some short pieces. Six Piano Pieces.pdf 01 Aeolian (Winds).mp3 02 The Hummingbird's Phrygian Flight.mp3 03 Quick Diminished Changes.mp3 04 Can We Be Friends.mp3 05 Longing Worlds.mp3 06 Gemini II.mp3
  15. 3 points
    Hello everyone! I've been away from the forum for a couple of weeks, we all know times have been crazy... However, I had finished my Sextet for Winds and Piano some time ago, and wanted to share it here. As always, feedback is extremely appreciated. Thank you for listening 🙂
  16. 3 points
    MOD NOTE: This thread was originally locked with posts removed insofar as they became or led to inciting remarks for further review from me and OP. I will admit that this was a hasty decision and I don’t wish to set a precedent of merely halting conversation upon the first sight of danger, though comments that are primarily inflammatory in nature quickly become irrelevant and are socially unwelcome. I want to be clear that my actions were not intended to silence opinions, but quell the heated argument; in this case, my attempts to make peace overstepped and failed. This thread is now reopened as the previous discussion was good, and while I deeply apologize to those involved that I cannot replicate the removed comments, I do hope the conversation can continue as it was, civilly and thoughtfully.
  17. 3 points
    For my Secret Santa entry, I had to describe a world in which all the adults had succumbed to a global pandemic (COVID-19, anyone?), leaving the children alive and alone to fend for themselves and shape the planet they had unwittingly inherited. Though this is a fanciful scenario, psychologically this fear of loss of protection and "parental" guidance is not so farfetched. What would happen if all of that were stripped away? (It invariably is many times throughout our lives.) So that's what this work aims to delve into. I did not intend to get so carried away with this project. I wanted it to be just a few minutes long, with maybe one or two thematic developments... but the creative flame took hold and I'm helpless to resist its overlordish demands. Sigh. So here you have my first attempt at a "traditional" symphony. Not quite as long or extensive (thank God!) but an attempt nonetheless. As is my usual wont, the music is built around the 4th mode of limited transposition—a symmetrical scale whose harmonic progressions depend largely on augmented 4ths/diminished 5ths. Lots of dissonance, tons of quartal harmonies, and perhaps a bit of atonality in places, but I'm not apologizing. The work is extremely tonal—or maybe modal is a better word—it just explores some chords and progressions that aren't very CPP. No score yet... still working on the final two sections, hope to post it and them soon. But I wanted you guys to have something to listen to, since today is the deadline after all. Still working on the score, but the symphony is, by and large, finished. Great topic, definitely fed my creativity! Let me know what could be improved, or what you liked/disliked, as you listen to this. Thanks for bearing with me, and happy listening!
  18. 3 points
    Hello! Here is my submission for the Secret Santa composing event organized by @Jean Szulc and @Left Unexplained. It's titled "Left Unspoken," it's scored for piano trio, and it was inspired by my Secret Santa topic: the word mamihlapinatapei, from @TheCluelessClariney. In their own words: My piece comes in fairly short at just under 4:00. It is structured as a simple A-B-A format, with one more contemporary-sounding section sandwiched between two more CPE-sounding sections. I hope the theme comes across in the interplay between the violin and cello, particularly at the end. Made with MuseScore 3. As always, all criticisms and suggestions are welcome. Thanks for listening. 🙂
  19. 3 points
    Hello, I'm a pianist and I compose for almost 2 year now. Recently, I wanted to compose something for orchestra in order to improve my orchestration skills. I choose to compose a waltz because it's a light genre and i wrote a set of waltzes this summer for piano so I know the form quite well. Here is the audio : Do you like it ? Camille_FRT__Grande_valse_de_printemps_.pdf
  20. 3 points
    Hi, Here a Waltz I wrote last week. Because of the mood I named just Spring Waltz. It's written for a late classical period orchestra: 1Piccolo, 2Flutes, 2Oboes, 2Bb Clarinets, 2Bassoons, 4Horns & Strings. I added also Glockenspiel and Vibraphone, because I like its percussive effect when doubling the winds. I think the style is also of the period. I appreciate your feedback.
  21. 3 points
    The title says it all: a few days after posting this fugue I seeked for and found some parallels, so I corrected them. I wasn't sure whether I should repost (which I'm doing right now) or simply let them slide past my mind. But I recently realised they were too obvious, which might be the reason why no one has replied since I posted the fugue. Also, I changed the instrument in the soundfont I'm currently using for the computer to play what is supposed to be a Reed Organ, despite I don't think the timbre is comparable to the real instrument, I guess it sounds nice. So it might sound like it's played by some sort of unspecified wind instrument. Hope everyone, quarantined or not, are safe and resisting the devastating effects of this epidemic so far.
  22. 3 points
    I guess the fact that you're asking for help with your music, but not showing anything of what you actually composed but some schemes you made, sums up the situation. This is very present in most of your pieces, you come up with some thorough explanations for every note you put on the page, but sometimes leave the "emotional" aspect of music composition to the side. Yes, you have an expressive goal with most your pieces, but you always seem to approach them as in a "let's see what reminds me of that in other people's music", followed by "I'll stirr all of that" fashion, if it makes any sense. It's not because you've identified those characteristics in other pieces that they will be of any use for you. As cliché as it might sound, try creating your own storm, without seeking into people's music for the tickboxes you have to fill.
  23. 3 points
    Hello everyone I would like to share this new melody. If you have time, please give me your opinion and advice. Thanks ! 🙂
  24. 3 points
    I wrote this short piece to practice counterpoint, creating some rythmic variety between parts and using some rythmic imitation. I highly appreciate your comments, and let me know if I have some forbiten parallels or weakness in the voice leading, my goal is to learn and improve 🙂 I have also a question: my baseline usually enters after the hard beat with the rythmic main motif and the resolution of the leading tone is delayed and resolved one octave downwards. I'm also not sure if this I a legant solution, because the 4th suspension between the oboe and bassoon is missing because of the silence, but on the other hand the resolution ends properly, so it's probably fine. I have tryed to put the notes missing on the hard beats and in the right octave, but it worsens drastically the flow...Can someone clarify that's is right or not? And how can it be explained? Probably my mind is just stuck with the classical pattern, where every note has to resolve in certain way and I'm just starting to open my mind... Also before the last cadence the dominant (F) should be resolved to the tonic one octave + a fourth upwards, though in the last beat the Bb is the missing one from the previous bar. Can it be analysed as a delayed resolution?
  25. 3 points
    Wrote a short piece in B minor, this time the theme wasn't from improvising. I just wrote this completely on the computer. Hopefully I didn't subconsciously use something from an existing piece...
  26. 3 points
    Hi, here a classic bagatelle. I wrote the main theme some years ago and arranged it for piano in this quarantine days. I appreciate your feedback.
  27. 3 points
    ***** Anyway I've already commented on this person's efforts several times with no acknowledgement or thanks when I really should be putting time in on a project even if stalled by this latest virus thing) so I won't be commenting again. . ***** @Quinn, I get maybe four acknowledgments out of ten comments I leave. It's a problem around here, and it's just bad form.
  28. 3 points
    A prelude I have composed yesterday. I hope you like it!
  29. 3 points
    Here the first 47 bars of the first movement of my first symphony! Allegro.mp3 Open for feedback and suggestions!
  30. 3 points
    A little jazz piece... Hope you like it. (Trumpet in concert pitch).
  31. 3 points
    Fanfare for My Brother Score.pdf In a passing conversation, Dr. Thurman had told me about how he was selecting repertoire for orchestra brass literature that included euphonium. This topic has always been a “thorn in the side” for euphoniumists worldwide especially for me as a compsoer. Although I knew they would probably never be played, I would write orchestra music with euphonium in college hoping one day the orchestra world would fall in love with instrument. Reflecting on that “pain”, I told Dr. Thurman I was going to rework a piece specifically just for him to conduct and called his own. I reached in my vault and throughly revised a piece originally called “Water to Wine” to “Fanfare for My Brother” to show my gratitude to someone who truly is my “Brother from another mother.” Here's from a read-through recorded on the phone.
  32. 3 points
    Concerto per violino, archi e bass continuo in b minor "Paradiso e inferno". written 20.06.19 - 25.06.19. Been some time since i wrote a concerto, so here is my summer contribution. Three part concerto written in the late italian school. I. Allegro - paradiso: 4/4 time, livly tempo and fugures, high in the register of the violin (Heaven it is!), the triumph key of d major. II. Adagio - cadere dalla grazia (fall from grace) 4/4 time. slow pace, rethorical use of rets, b, minor III. Vivace - inferno, 4/4 time, fast pace, slaming fugres, chromatic downward passages (going down to hell), b minor Please tell me what you think SimenN
  33. 3 points
    I think the best word to describe my music is "neo-romantic." I write music that I feel is easy and pleasing to listen to - not necessarily 'light music' but not avant-garde. My style is not so similar to Romantic composers as to be reminiscent of any one, rather in a review I received here I was told that: "One minute I'm hearing Mendelssohn's influence, the next a little Tchaikovsky." I believe it was @J. Lee Graham who said that, a composer who is obviously also a traditional tonalist. My biggest works are largely Romantic. There are some minor 20th century inflections that I add, such as an unusual modulation or chord choice. I also like to utilise new instruments such as the Contraforte, or ones which slipped into obscurity during the Romantic period such as the alto trombone. NB: The alto trombone is a wonderful addition to the orchestral brass section. Listen to many orchestral pieces from the Classical era, including Beethoven's symphonies to hear it in action. In chamber works however, there is a larger scope of influence, especially from the music of Scotland, where I live. Classical pieces that I have written include sections with common Scottish musical ideas, and a string sextet that I am writing has the finale as a harmonised Strathspey dance. In the age of the internet and globalisation, we have a huge range of musical influences from throughout the world. Ethnomusicology is a growing area of study, and we composers have the freedom to write whatever we want, whether from orchestras with oboes and strings, or for ensembles with sitar, gamelan and electronics. What we should never forget is the universal language of music. Atonality has become common and respected, and this poses the risk of us tonalists being forgotten or actively disregarded. The worst thing that I could hear is not an experimentalist piece by Stockhausen. It's not a calculated serialist sonata. It's just four words: "Find your own voice." Who has the right to dictate anyone's compositional style?
  34. 3 points
    Just a little sad flute solo.
  35. 3 points
    I have written this as part of the Christmas music project. It's a revision of a carol I wrote a couple of years ago (which can be found here) based on Shakespeare's "Song of the Holly." It is for SATB choir and an accompaniment.
  36. 3 points
    As the title implies, it truly is silent
  37. 3 points
    Hello guys, I am totally new here and I am really impressed by discovering such an active forum with so many talents! I am really surprised, didn't know there was such a place on the web! Anyway, I am a youngish composer (31yo), I started composing around 2 years a go (but play the piano since many years). I have composed a good amount of stuff but my favourite is probably Math Piano Rock. This is inspired by Math Rock, a fast paced genre with frequent change of rythm and no lyrics (I hate lyrics!), but also Prokofiev and Bartok. The piece is *difficult*! The video below is performed by a software - but I have actually played it live a couple of times (you can see in my channel some videos where I do that, if you are interested). I am always looking to opinion, suggestions and ideas!
  38. 3 points
    Hi Everyone, I just recently finished my first "exact" composition for solo piano . Prior to this, I have been improvising and composing various themes for many years but this is the first time I went about trying to put together a coherent piece and notating it. I would love to hear what people think about it. Here's a link to my own performance ( with score) on youtube: Also, here's a link to the score (also attached as pdf) : https://musescore.com/user/25828516/scores/5759589/s/0aktCw I realize that some of the more difficult sections aren't a 100% clean in my performance. So those interested, could listen to a "100% accurate" but somewhat stiff/mechanical software (musescore) playback to evaluate those sections. ( I did my best to put hidden instructions in the software so it sounds less robotic ). I'm completely self-taught in music theory/composition and am trying to evaluate where I stand currently as far as my compositional skills are concerned. So, any kind of feedback would be highly appreciated. Also, here's a short description of the piece: The title of this piece alludes to the tendancy of this piece to drift from one style to another, from music of one period to another, from one mood to another. The music also tends to "drift" from a standard waltz form to music which has little resemblance to a waltz ( but may still maintain a slight waltz pulse) . Thank you very much !!
  39. 3 points
    Ray Bradbury once said, "Don’t think. Thinking is the enemy of creativity." And Albert Einstein said something similar: "The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift." The vast majority of your posts on this forum display your detailed—and oftentimes dizzying—thought processes. But all of this planning is honoring the "servant" and ignoring the "gift." For the most part, the works you produce sound rigid, analytical, and unfeeling—which I don't think truly reflects who you are—because you can't plan out creativity. It is 100% informed by our intuitive mind, not our rational mind. You have a vast understanding of music theory: your rational mind at work. If you want to become a better composer, I advise you to start using your intuitive mind. In other words, stop thinking and start creating. I apologize for being so blunt, but I do understand where you're coming from. It's very difficult not to research every aspect of something before sitting down to do it. It makes us feel competent (or, rather, it keeps us from feeling incompetent). If we can totally understand something it has no chance of overwhelming us, or so we tell ourselves. As comforting as that may seem, it only hinders us in the creative process. Trust me. I do agree with @Luis Hernández, @aMusicComposer and @Markus Boyd. You pepper the forum with requests for advice but only respond to either defend yourself or if someone you view as competent provides feedback. I truly don't believe your intention is to put all of us off like that. Please try to put yourself in our shoes; we are only trying to help you.
  40. 3 points
    Wrote this last night, I'm kind of excited about it. Anxious to hear what you guys think.
  41. 3 points
    Jesus, man, how much are you paying for this?
  42. 3 points
    Composition completed on 10/28/2015 You also can watch this piece here -
  43. 3 points
    This was written in November 19, 2012. I was quite prolific and experimental in writing music during 2012-2014, and while I was just playing around with melodies along the higher register, I decided to write this one out. While this one's a very short piece, it was among the very few ones that were actually completed, so I wanna share it to the forum. Hope you like it 🙂
  44. 3 points
    The difficulty is that when trying to be original, you have no control over what your contemporaries are doing. Ideas don't appear out of a vacuum. We are all the products of our cumulative experiences. So it's very likely that the same influences that nudge you towards writing a certain kind of music are acting on other composers in the same way. There are a LOT of people on the planet at this point in history, and it ends up being a numbers game. And today we live in a globally connected world. We don't have the comfort of long periods of musical isolation from the neighboring cathedral towns or royal courts while we gather our thoughts and develop our ideas. If you're working on it, someone else is going to hear about it. If someone else is working on it, it's hard to stop their ideas from leaking into your inner soundscape. We also have no control over what happens after us. Trying to strategize the best direction for your music now, in the context of music history two hundred years from now, is a pretty impossible task. If you've got the foresight to solve that one, can you please stop pursuing composing and sort out world peace instead? What seems original now may completely miss the boat for what ends up being significant. I say, just write what you like. One of the best predictors of being important to the direction of music in your time is to write enough music to get good, and to get good enough to be performed, filed away in music libraries, and passed around to other musicians so you can influence other people. If you hate what you are writing, you won't be able to stick around long enough to get good. You'll quit before you get started. So compose music that you find moving, don't quit to spend your free time watching TV, and if you are very lucky, you may stumble on something original enough to move the gears of progress a notch.
  45. 3 points
    This is a great discussion point - and one that I think the world of composition needs. There is no secret that I am a tonal composer. It's just the music I enjoy writing and listening to. As a composer, whichever combination of tones you use will create something that is unique to you, whether is be 5, 7, 8, or 12. Provided you are not copying a piece directly, then it is original enough. The biggest problem comes from exposure. Why would a (paying) audience go to see a symphony by an unknown composer which sounded Classical, rather than their favourite Mozart one. Here lies the problem with originality - performances. Bottom line, if you want to write tonally, do it. It's still original. However atonal music is more likely to be performed, which brings me to the next point. I, as a composer, want to write music that I enjoy. If someone tells you what style of music you should write, then that will ruin the enjoyment of music for you. This is the problem with conservatoires, who tend to only accept people with an avant-garde style which they consider to be more original. Not to attack John Cage, but silence? Seriously!? Disclaimer: I mean no disrespect to atonal/avant-garde composers. You are all equally skilled and creative. I just personally don't like the style. If even one other person besides me listens to my music and enjoys it, then I feel like I have succeeded in a way. I would like to get my music performed but composition isn't my main pursuit in music so I don't mind as much. New music ensembles tend to only want to perform avant-garde pieces, and traditional orchestras generally do not accept pieces from budding composers. As a composer, I want to reach out to other musicians and show them what I have worked on. You could say I am trying to "revolutionise music" because I want to show the world that tonal composers still flourish, even though they are looked down on by competitions and festivals. I thought about this a few months ago. I love the works of the greats from the last few centuries. It appeals strongly to me, because my ear - as most ears do - perceives it as right. Tonal music is designed to be pleasant - but that doesn't mean it is limited to what most non musicians think classical music is. Take two birds sitting on a branch. One sings tonally, the other races rats over a finish line and sings the notes in the order that they place. Which one will get a mate? The ear - our ear, an ant's ear, a bird's ear - likes the harmonic relationship between the frequencies of a tonal scale. My style, as I have said before, is tonal, but I like to experiment with the changing harmonies caused by a chromatic movement. Listen to this simply beautiful piece by Grieg. I didn't play it for a while, because from looking at the score I could see it had a lot of chromaticism. But it is still tonal, and this is what I try to write. I don't count myself as a pastiche of Grieg, because I draw my style from another source. Scotland has a rich traditional music heritage, and if you listen carefully to some of my most recent music (not posted here yet) you can hear the influences from playing fiddle in a school folk band. I even write specific Scottish traditional pieces to play in the group, although that is not the main part of my output. My style? Tonal×Accidentals×Scottish Music Music is so subjective. Thanks for sticking with me, it's my longest post ever.
  46. 3 points
    Hi all! I'm new here, and I really wish I'd discovered this community much sooner! I love classical music but, as a violist, my largest complaint has been the lack of stirring, cinematic viola concerti. Well, what's a composer to do? So here's my stab at a full-length viola concerto. I've named it Yfirsést (pronounced ih-ver-syest), the Icelandic word for "overlooked," and an all-too common feeling among violists. This is the first movement, and it resounds with the struggle of overcoming mediocrity and being seen for what you are. (I couldn't tell you what composer it sounds like, because to me, it sounds like me. 🙂) I appreciate your feedback, and especially taking the time to listen! I'll upload the second and third movements (along with the scores for all 3) later.
  47. 2 points
    I think it would be beneficial if the competition guidelines/rules somehow stretch each contestant without squelching his/her own artistic voice. A scenario would be nice I feel. Maybe something along the lines of trying to convince a patron to support you financially? Your composition could be your 'interview' (I'm reminded here of Bach and the Brandenburg Concertos.) We could give you a bio sketch of the patron—keeping it as musically neutral as possible so that nobody is forced to compose in a particular style—and see how well you cater to the likes/dislikes of that person. Just an idea. Feel free to shoot it down or modify it as you see fit.
  48. 2 points
    The role of composers is supposed to be, as all the arts were before modernism, to create beauty and cultural affirmation. Today, the main thing composers are seeking to do is be a part of corporate machines and like modern artists — churn out mass-produced junk, that doubles as anti-European propaganda pieces. Unfortunately. Now it's all abstract expressionism and conceptualist nonsense. You just lay on a drone or throw some paint at a canvas, and then try to tell everyone what it "means" with some florid artspeak — it's not even music or a painting (John Cage 4 '33 anyone?) at all, it's just literature meant to dazzle and confuse until the viewer believes that their instinctual disgust is "wrong" and that they just "don't get it". The fact that this is a question shows you how far it has fallen — as in the past, the social purpose of art, music, architecture, dance, etc. was obvious. But we live in an age of the meaningless, the inane, and the ugly. One might turn to the fact that those in the hard sciences no longer see the value of art and the history of how this came to be, for answers. In the past, most men of science we also skilled artists. It was understood that just like knowledge of the sciences, skill in art and music were real things that could be taught. Christopher Wren made important contributions to meterology, astronomy and as an anatomist — yet he is most known as the architect of St. Paul's Cathedral. Though he had many other impressive works of art. In Wren's time, being a skilled architect, architects were expected to have mastery of sculpture as well. Today, they are taught that such sculptures are monuments of an evil, colonial and "oppressive" civilization that must never exist again, and instead, they are taught to build hideous glass towers and gray, Soviet Apartment blocs. Such men either do not exist today, or are extremely rare and left to passion projects. Modern scientists — with science seeking to deal in logic and objectivity — look at art today as something meaningless, largely because that's what it is; void of logic and now devoid of objective standards, opting instead to wallow in "subjective" solipsism where "anything is art" (and therefore nothing is) and so scientists now see little value in it. It depends on how one is defining "new". In the past, new works were ones which hadn't been seen before, but still fit within the established aesthetic framework of tradition. Art Noveau was new. Beethoven was new. The electric guitar was new. Since 1900, most of what is "new" in the arts, however, is that which rejects tradition and standards entirely, because where standards and traditions are to be found, so too will one find a hierarchy, and if there is a hierarchy, there is discrimination — but without such discrimination, good from bad cannot be differentiated and improvement or quality cannot exist. Do people still want new and interesting pieces to listen to? Yeah, but they also want those pieces to be good. I'm sort of repeating myself here, but it's necessary. Much contemporary music is just to serve as or aid the sale of a product. Think of all the assembly-line pop music that plays in the shopping malls. Much like with Kandinsky, Picasso, or Shoenberg's avant-garde noise music, it's all about churning out product as fast as you can, getting youtube subscribers, getting it in the next vapid Marvel movie trailer, slaving 12+ hours a day in Hans Zimmer's music factory, etc. so you can (hopefully) fill your coffers. Obviously, there is good pop music, there are still great composers for the orchestra and folk bands, but much like painters, sculptors, architects, etc. who are still good — whose works are the result of real mastery over their respective crafts — are usually banished by the elite into the realm of hobbyists. That's my answers to your questions. Hope it helps
  49. 2 points
    "Originality" is not actually an inherent virtue; what most people actually mean when they say "originality" is a "my signature style". Well, everyone has that provided you're not specifically trying to sound like another composer. Not that I am accusing OP of this — I have not heard his music — but it's my experience that a lot of the time, people try to use the fact that they're "original" and "different" to make up for the fact that they're not actually very good. Because then, you can make the argument that everyone who doesn't like it, simply "doesn't get it" or whatever. You see this a lot in "art music". Schoenberg and his underlings were pretty original, what with the serialism and all. What do they have to show for it? A large body of work that is mostly ignored by the world and even fans of the technique admit can be "difficult to listen to". A friend once told me about this conductor who told him what I think is probably one of the truest things I've ever heard about music: "The further that your music is from folk music, the less listenable, popular, and likeable it will be." The reason that hits so hard in regards to this topic is that inevitably, truly "original" pieces must eschew the aesthetics and techniques that — over many centuries — have come to be the norm because they are what most people find to be desirable qualities in music. Like it or not: The list is finite. You will notice that the most-enduring classical pieces are either highly-similar to folk music of the day (Bartok literally made arrangements of them) and 20th Century pop music. Throughout the 20th Century, basically everyone was granted access to art music via recordings and post-war economic booms and guess what? Almost all of that deeply-original "art music" that was written over the least few hundred years went the way of the dodo. Why? Mostly, because most people didn't like it. Why? Because — and I know this will make a lot of people made, but it's the truth — most of it was never actually very good to start with. So If people like what you're doing, you like what you're doing — then there is no need to be worried about how "original" you are. But if you're getting bored with the classical style, just try doing another for a while. I've done everything from Metal to Pop, to Folk, to Romantic pieces to sad piano pieces. It's only music — no need to make this $H!t stressful and complicated.
  50. 2 points
    Very nice textures, and the harmonies sound very apropriate and well used. The playing is very impressive. Also, it's impossible not to like something called "Dragon Fruit Toccata"
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