Somebody:
>
>>That is because there is a special relationship between the compound
>>meters and their simple meter analogs.

Jef:

>in music composed prior to 1909, yes, but only as an exception afterwards.
>
[...]
>if you wish to discuss the problem as it relates to the notation of music
>composed after the dissolution of tonality as the _primary_ "serious"
>compositional realm, i'm in, if not, i have nothing more to reply to you.

Ah, the light bulb appears!  Jef, now I understand where you are coming
from, and I can clarify my previous statements.  It is precisely those
composers and songwriters for whom tonality is still alive and well and in
daily use--which is probably 99% of the composers and songwriters who lived
in the 20th century and who live today--who continue to use the notational
and metrical conventions which you associate with tonality.  Key tonality
and functional harmony are alive and well in the marketplace, including
Broadway, Country, Pop, Rock in its miriad forms, Jazz, and virtually all
church music and educational music.

Understanding that you speak for the experimentalists of the 20th century,
I now understand how to interpret your statements.  Thank you.  Without
intending at all to foment disagreement, since this is something on which
disagreement is all too easy, let me simply say that I sometimes wonder
whose music will be cited in 200 years as having the most influence on the
audiences of the 20th century and on the music of the 21st.  My money is on
the Beatles and Andrew Lloyd Weber.  (John Williams optional at extra cost;
for an awful lot of people their only contact with "classical" symphonic
music is those film scores.  Your mileage will most certainly vary!)

John


John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411   Fax (540) 231-5034
(mailto:John.Howell@;vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html


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