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Another re-upload from the archives: This piece is an experimental work that is a serious work, yet, it is not meant to be taken too seriously. It has many fun surprises and a lot of cross-over feel to it. It's broken up into three movements, but it's all in one file. Video game music was one of the bigger inspirations for this piece. The piece is meant to start off sounding of old-school synth elements, and a more 'weird' tone to it, but each movement moves more towards a huge, cheesy, dated-sounding, full-on trance/dance romp! This was the grand finale of my senior recital and boy, I had to really push my professor to let me include this on the program! LOL Enjoy and let me know what you think! A Synthetic Mind (c) 2013 Jair W. Crawford
I understand this is a speculative question, so don't expect this question about "musical logic" to demonstrate much "logic" in a non-musical sense - i.e. don't argue with me about the appropriateness or "logical sense" of the question! Allow your "musical logic" to enter into this verbal discussion.... I think there is an underlying "logic" to all music composed. This logic can be perceived, analyzed, understood, but perhaps not verbally. Musicology may be the field which deals with musical logic. But how does "musical logic" differ from ordinary logic? What is musically logical may well be "illogical" - or strike one as illogical - from a non-musical perspective. To give a concrete example, in ordinary logic repetition has no purpose, but in music - in musical logic (just as often in poetry) - repetition has a fundamental role to play. Can you identify other instances where "musical logic" diverts from ordinary logic; where "musical logic" surprises us, or confounds our expectations-originating-from-ordinary-logic? You can use concrete examples from famous composers and famous compositions.