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A little and quiet piece for this month. November.pdfNOVIEMBRE.mp3

A short Horn Quartet inspired by hunting music with a mixture of Waltz light music. Any criticism and opinions are welcomed

Small concertino for trumpet in only one movement, inspired by Alban's variations. Any criticsm and opinion is welcomed!

This is a "light" music symphony. It's inspired by the European danceable music. The Scherzo (Danza, Mov. 3) it's made in a folcklore music genre from Puerto Rico (which is where I live) Any opinion and critics are welcomed. I. Andante - Tempo di Valse II. Adagio III. Danza IV. Con brio

Hello, This is my lattest piano work, composed in january. I wanted write an animated piece, inspired by popular music of Portugal, so it is very tonal probably one of the most tonal pieces I made. I would apreciate very much your feedback and I apologise for the lack of dynamics Thank you!

So does anyone know of any composers from the 20th century that used the traditional system of tonality as opposed to atonality? Even better if there are composers that emulated the style of the older eras (baroque, romantic and classical specifically)

It seems that anytime you get classical musicians or composers together on an online forum the topic, or really the flame inducing debate, of atonal vs. tonal music comes up. Though atonal music (or to use the more inclusive term post-tonal) has been around for about 100 years, there seems to be no end to the number of pages of post, rebuttals, counter arguments, and comments these threads generate. This "debate" goes far beyond just threads about the topic. Any mention of atonality vs. tonality anywhere near classical music (i.e. comment section on articles, youtube videos, and Facebook post) there are many fervent commentators ready to start the back and forth on this issue. This dichotomy is also present in real life situations. The near decade I have been in college I have seen this debate divide schools of music. While other professors advocate new music, others go as far as forbidding or refusing to teach new music to their students. There are even books and scholarly journal articles that pit the two against each other. But this thread isn't about the merits of tonality and atonality, this thread is about the why. It appears on the surface that there is no reason to not like both. It is very reminiscent of many other dichotomies in pop culture: Star Wars vs. Star Treck West Coast Rap vs. East Coast Rap Marvel vs. DC Beetles vs. Rolling Stones Band Geeks vs. Orchestra Dork vs. Choir Nerds Why is this such a hot button issue in the music world (be it mostly online music world)? What is gained through these debates? What does engaging in this debate say about us? Does this dichotomy expose our insecurities about our own music, or show our need to be superior by tearing down the styles of others? Or is it just human nature to simplify a complex issue like post-tonality and reduce it down to a binary?

Hello, I am studying composition at a university and one of my optative subjects is "Musical Sociology". For that subject I am writing a short paper about the accessibility of contemporary music. More specifically, I am studying the hypothesis that two elements, form and musical discourse, are more important than the musical language used in a given work in determining it's accessibility. For anyone interested in helping I have, at the moment, two questions. The first is: among contemporary works written using non tonal idioms, which would you consider to be more accessible, and why? I also ask the opposite question regarding works written in a more traditional tonal idiom. Which of those « works would you consider to be less accessible, and why? Thanks for the help, and sorry for any mistakes.