On 3/25/2018 6:43 AM, Kieren MacMillan wrote:
Apparently you haven’t been to any new classical music concerts in the last
half-century. It’s*quite* clear that many composers — especially inexperienced
ones — have no problem composing dissonant pieces without access to the the
actual timbre and overtone composition of the music they’re writing.
"
There was a time when the first performance of a recent commission
struck fear into the most broad-minded listener. We used to brace
ourselves for horror and were rarely disappointed. In those days, the
struggle to write more atonally than the next man was palpable. No
self-respecting composer would pen a concord if he wanted to be taken
seriously by his peers: to do so was to be compared to those who made
soft-harmony arrangements of famous melodies. Now soft harmony has
become dignified, with all manner of clever names — tintinnabuli, holy
minimalism; while popular tunes are quickly identified as being ‘chant’,
and quoted whole.
"
- Peter Phillips
<https://www.spectator.co.uk/2014/12/why-church-music-is-back-in-vogue-and-squeaky-gate-music-has-had-its-day/>
--
Karlin High
Missouri, USA
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