ELS

What is your price range?

How is this a fair question? Furthermore, these pieces are so diverse- each one has something individual to offer.

I definitely disagree with some of Babbitt's more radical views on music, specifically the belief that music should be composed for the sake of academia. Now, with that opinion aside, I really do admire and enjoy Milton Babbitt's music. In fact, one of my teachers studied with him at Princeton. However, not all contemporary aesthetes (associated with the composition of atonal music) share the same views as Babbitt. Many composers, both living in dead, throughout the 20th and 21st centuries (including Arnold Schoenberg) have espoused the viewpoint that (free) atonality is the natural continuation of the romantic style of music, but eventually the need for a set procedural structure pushed composers of atonal music to use serialism. Some composers abandoned the triadic system all together, but others, such as Alban Berg and Paul Hindemith integrated triadic harmonies into both free and serialized atonality. Have you ever heard the Berg Violin Concerto? Listen to the last movement- a beautiful example of serialized, triadic atonality. I think you'd like it, antiatonality. On this concept of "newness," I think we all can agree on one thing- that it is OK to draw upon earlier forms for inspiration, or guidance and perhaps even utilize them in a way which integrates elements of music of our age, with music of the past. Now, there is LOTS of "new" tonal music being composed right now, but what makes it new is its utilization of tonality, just as Alban Berg's use of serlialism is new, or innovative.

Thank you to whoever added the last option. Good idea!

From now on, I'll make sure to do that! :D

If you are looking for that sacrificial sound, you need to build up these chords... add some more dissonant non-chord tones. Also, you may even (if you really want that Stravinskian of a dance) compose multi-metrically and use some unexpected accents, but as is, the piece does evoke a ritualistic kind of atmosphere. Good work.

New poll.

I can't believe Tchaikovsky and Grieg received more votes than Schubert and Brahms!

Would anyone recommend a specific program? I applied to the Boston University Tanglewood Institute, Brevard Music Center, and Young Composers Program at the CIM. I got into all of them, but BUTI and Brevard were too expensive, so I decided to go with the program at CIM and another program at Illinois Wesleyan. Where should I go next summer?

Sorry I didn't clarify that this piece is a sketch. Still in progress! I can't wait for your detailed analysis- will it be harmonic, structural, or a comprehensive analysis?

Its definitely not fully hereditary. There is still some question over whether raw intelligence is in any way hereditary. Whether or not you can compose well has a lot to do with your exposure to the classics, as well as formal training in music theory (ear training, counterpoint, part writing, etc.). So, if your school has an AP Music Theory course, I would advise you to take it. You should buy an orchestration book as well as a few scores and recordings. Try to listen to as much as you can to broaden your possibilities as a composer.

Glenn Gould.

Interesting idea. I can see it now: Sonatine KY for Viola and Orgasm Tape

I like this song. It has that Broadway-pop catchiness with some interesting seemingly unprepared modulations. Kudos!

Unfortunately, I had a postmarked deadline to meet- so I had no time to develop, or dissect this piece any further. I did want to expand upon the material in the first section, though. Thanks for the advice, though. Perhaps, I will revisit the piece.

I've hired professionals to play and record the piece. The flautist got through his part perfectly well on the first rehearsal, as did all the other players. Now, with regards to the measures with the non-linear rhythms, these players can handle it. Some of them are playing pieces by Elliot Carter right now.

Before I discuss this piece any further I want to clarify that it is still in the planning stages. So, what you see right now is essentially a sketch. I have not decided how I want to expand the work, but when I began this sketch, I wanted to compose a piece that flowed in a way that seemed natural, while also holding on to the main thematic ideas, which came from a number set we were assigned. I also created a visual line interaction on a blank sheet of paper before I began this composition. Corbin, what do you not understand? My piece is not in a fixed form and I really just wanted to explore the timbral possibilities of the ensemble.

Sorry! I didn't mean what I said in any sort of derogatory way. Without hearing my voice inflections in real life, its difficult to truly understand what I am trying to communicate. I just wanted to display my polite disagreement with the description, but in no way did I mean for it to come off as being rude. Anyways, I also love Berg's Violin Concerto. Alban Berg always uses such interesting tone rows in a way which is accesible, as well as harmonically interesting- and almost pseudo-tonal.

If you would have read it, I pointed out in one of my first posts that I credit the minimalist movement as being innovative. (that may have come off as being rude, no harsh feelings- I never read through entire threads either).:)

First of all, I have spent a lot more time composing than contributing to this forum. Also, talking and arguing civilly does achieve things. People realize where the problems are in their viewpoints, as I have through this discussion. Plus, if we can't discuss our aesthetic attitudes, how are we supposed to practice them?

I hope to expand this piece into a multi-movement work. Keep in mind the midi file does not play anything as it should sound in a real rehearsal or performance, as I did have it in rehearsal a few weeks ago. Here are a few things the midi leaves out- the sound of a real glissando, timbral variance, piano pizzicato, pitch inflection, and false harmonics (the notes with the see-through diamonds placed a fourth above the black notes are being sounded a fourth and two octaves lower than notated). Corbin, what do you mean exactly?

I want feedback! Perhaps the title is too dull. Well, then, unfortunately, I guess I won't be getting too many comments, as I prefer composing absolute music.

Nice. I like the rhythmic scheme a lot. Some parts remind me of Stravinsky's Histoire du Soldat.

Don't worry. I'm kind of frustrated too. I don't get any comments on my pieces, but I get tons on the threads.

I'm fine with the forum continuing at this point. Discussion is improving drastically because I'm not quite as angry as I was yesterday!