21st century classical music

Started by James, May 25, 2012, 04:30:28 PM

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7/4


Octave

Indeed, the inclusions are catholic.  Initially I was surprised at Valerio Tricoli, but of course he counts.

I used to like his band (or was it just a band he worked with?), 3quartersHadBeenEliminated.  Mysterious stoner-drone-concrète.
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some guy

The Tricoli is wildly gorgeous. Thanks for that.

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Sergeant Rock

Quote from: karlhenning on October 03, 2013, 04:04:34 AM
The shores of Tricoli?

I hear the sewers of Tricoli; then what is clearly a bout of severe indigestion (who says music can't clearly depict non-musical themes!), with the piece climaxing in group flatulence. If that is what he was going for, it's very well done.

Quote from: some guy on October 03, 2013, 03:04:36 AM
The Tricoli is wildly gorgeous.

We have a very different definition of gorgeous.

Sarge
the phone rings and somebody says,
"hey, they made a movie about
Mahler, you ought to go see it.
he was as f*cked-up as you are."
                               --Charles Bukowski, "Mahler"

Sergeant Rock

Quote from: sanantonio on October 02, 2013, 06:44:48 PM
Rashad Becker

https://www.youtube.com/v/MKvwModIsBY

Mr. Becker and I have very different definitions of dance. (For some reason English just isn't working for me in this thread.) But what a fascinating sound world--like an alien barnyard. I hear mutant cows, sheep, goats, geese, ducks...and Harpo Marx!  :D But is it dance? In any case, an amusing píece that didn't have me reaching for the bottle of Tums like the Tricoli did.

Sarge
the phone rings and somebody says,
"hey, they made a movie about
Mahler, you ought to go see it.
he was as f*cked-up as you are."
                               --Charles Bukowski, "Mahler"

cjvinthechair

#427
Quote from: Sergeant Rock on October 03, 2013, 04:28:41 AM
I hear the sewers of Tricoli; then what is clearly a bout of severe indigestion (who says music can't clearly depict non-musical themes!), with the piece climaxing in group flatulence. If that is what he was going for, it's very well done.

We have a very different definition of gorgeous.

Sarge
Must agree with Mr. Sergeant Rock on that one....which isn't always the case !

Sorry, Mr. Sanantonio - am diligently searching through your posts for things I can vaguely appreciate, but doing less well of late.
Clive.

San Antone

Glad to see people are giving the music a try - even if some don't like a clip here and there.  I try to present music from a variety of composers, with no expectation that anyone will like all of them (well, I do, but that's just me  ;)  ).

Sergeant Rock

Quote from: sanantonio on October 03, 2013, 05:04:49 AM
Glad to see people are giving the music a try - even if some don't like a clip here and there.  I try to present music from a variety of composers, with no expectation that anyone will like all of them (well, I do, but that's just me  ;)  ).

Keep posting...I'll keep listening.

Sarge
the phone rings and somebody says,
"hey, they made a movie about
Mahler, you ought to go see it.
he was as f*cked-up as you are."
                               --Charles Bukowski, "Mahler"



Parsifal

Are the concepts of melody, harmony and rhythm now considered so outmoded that modern music has dispensed with them?  That's the impression I get after a few random clicks on this thread.

some guy

Quote from: Sergeant Rock on October 03, 2013, 04:28:41 AMWe have a very different definition of gorgeous.
Indeed.

I also do not recall ever calling something you fancied a sewer, either, or flatulent.

Just another way in which we differ.

some guy

#434
Quote from: cjvinthechair on October 03, 2013, 04:42:33 AMSorry, Mr. Sanantonio - am diligently searching through your posts for things I can vaguely appreciate, but doing less well of late.
You're looking in the wrong place. Appreciation comes from inside of you not outside. If you're looking for things that you can appreciate, then you will find them only in areas where the new things that you don't know yet are very much like the old things that you already do like.

You could maybe try looking at the things that are there and letting them do whatever it is they are doing. (Hint, it's not farting.)

Quote from: Scarpia on October 03, 2013, 06:17:48 AM
Are the concepts of melody, harmony and rhythm now considered so outmoded that modern music has dispensed with them?  That's the impression I get after a few random clicks on this thread.
Hahaha, you sound like a nineteenth century critic struggling with Beethoven's Grosse Fuge.

Karl Henning

Quote from: some guy on October 03, 2013, 08:18:58 AM
Hahaha, you sound like a nineteenth century critic struggling with Beethoven's Grosse Fuge.

More of us need to read Slonimsky's Lexicon of Musical Invective, and heed its lessons.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Parsifal

Quote from: some guy on October 03, 2013, 08:18:58 AMHahaha, you sound like a nineteenth century critic struggling with Beethoven's Grosse Fuge.

This may strike you as strange, but I have never read 19th century critics of the Grosse Fuge.  Does the piece by Michael Pisaro have melody, harmony or rhythm, or have I missed something?

San Antone

Quote from: Scarpia on October 03, 2013, 08:32:07 AM
This may strike you as strange, but I have never read 19th century critics of the Grosse Fuge.  Does the piece by Michael Pisaro have melody, harmony or rhythm, or have I missed something?

For some time there has been a growing body of work, mainly electronic, but can be acoustic or electro-acoustic, which deals in sound divorced from meter, or conventional harmony.  One could think of works by Morton Feldman which might fit this description, and those go back 30 years or more.  Nevertheless, there is still plenty of music being written which utilizes melody, harmony and rhythm in a more conventional fashion - and if you were to scroll back a page or two, you would find some examples.  Granted, the melody, harmony and rhythm might be complex and/or atonal, but the work is not divorced from those three aspects as you have implied.

I don't post much from tonal works, since those do not occupy my main interest for new music, but there is plenty of that kind of music being written today as well.

Parsifal

Quote from: sanantonio on October 03, 2013, 09:09:18 AM
For some time there has been a growing body of work, mainly electronic, but can be acoustic or electro-acoustic, which deals in sound divorced from meter, or conventional harmony.  One could think of works by Morton Feldman which might fit this description, and those go back 30 years or more.  Nevertheless, there is still plenty of music being written which utilizes melody, harmony and rhythm in a more conventional fashion - and if you were to scroll back a page or two, you would find some examples.  Granted, the melody, harmony and rhythm might be complex and/or atonal, but the work is not divorced from those three aspects as you have implied.

I don't post much from tonal works, since those do not occupy my main interest for new music, but there is plenty of that kind of music being written today as well.

I don't have any particular interest in modern tonal works, and am generally interested in modern works which have a lot of complexity (i.e., Elliot Carter, thorny, non-electronic Boulez, that sort of thing).   But I get the (perhaps incorrect) assumption that having recognizable pitches in music is now considered passe.

Karl Henning

And I'll repeat (the latest occasion was for Annie's benefit, though she scorned the idea without proving her own case) that music for upitched percussion ensemble does not miraculously become "non-music" for want of definite pitch.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot