Eric Whitacre and the Golden Ratio

It was hardly random. The OP seems to think that the Golden Ratio's supposed presence in his works is a 'phenomenon' which acts to deify Mr. Whitacre in a way which I do not agree with.

I don't think that it deifies him in any way, shape, or form. I just posted it here as an interesting curio. I also don't really believe that the golden ratio contributes at all to a composer's ability, effectiveness, or musicality, just that it's an intriguing thing when it does occur. Please don't misunderstand me here.

@Dev: There are indeed multiple climaxes in that piece, the largest and most grand certainly being the one at the end. The part that I referenced occurs in the text "across eternal skies" in a striking key change and resolution that is probably the second most important part of the piece, after the final climax.

I think this particular equine cadaver has endured enough punishment. The horse is DEAD. Don't keep beating it.

@Dev: There are indeed multiple climaxes in that piece, the largest and most grand certainly being the one at the end. The part that I referenced occurs in the text "across eternal skies" in a striking key change and resolution that is probably the second most important part of the piece, after the final climax.

I see the part you mean (though I see no key change - unless you mean modally), but I still think that a) You're succumbing to confirmation bias and calling that an important part of the piece because you see it occur at the golden ratio, whereas I would say the beginning of the phrase "nearer than my dreams" is more important/impactful, as is "in whose sweet words" etc. etc.

and b) None of it matters. The times it occurs are neato keen but it's really just a coincidence (Whitacre himself admitted he didn't know about them until someone did this study) AND it doesn't make his music any more or less viable/impressive/legit. It's like taking a study of how many times scale degree 4 occurs - 407! Okay, whoop dee doo. Can you listen to it and enjoy it? Does it evoke emotion? Is it playable/performable? These are the far more important questions to ask.

a) The part I mentioned is important (not to mention one of the loudest parts of the piece), but I see what you mean. More convincing is the climax in Go, Lovely Rose ("And not blush so to be admired") and the climax in Sleep ("As I surrender unto sleep"). But maybe you're right. Maybe I am just seeing golden ratios everywhere now after it was mentioned to me.

b) I agree wholeheartedly. I already said that such a connection, whether or not it exists, does not contribute in any way to a composer's music. I love Whitacre's music for its emotion, and its amazing sound, not for the golden ratio. I just thought that this was an interesting diversion. The cool part about these maybe-occurances is that they ARE coincidential.

The Golden Ratio is not used by only Eric Whitacre... Brahms used it A LOT! I often use it in my own compositions without even thinking. Most compositions have the Golden Ratio whether the composer though about it or not.

...did you even read the thread?

...did you even read the thread?

the first two pages..