http://www.newmusicbox.org/articles/found-three-examples-of-21st-century-music/#comment-24826
Phil Fried says:
“..all of these pieces have in common a treatment of the form as a sort of HISTORICAL artifact and not a living, breathing form…”
Untrue.
In my experience the large ensembles (orchestras and opera) have a better track record of style representation than American chamber groups (which tend to stick to a single style of new music). The Minnesota orchestra has commissioned serial music from me I’m still waiting for Bang on a Can.
Also:
Music is not in stasis and any art which reaches a point of stasis is dead. This makes the making composition lists well controversial. At best one can only mark the signposts on the way.
Phil Fried says:
“folk music being appropriated into a formal constraints…”
“If anything they’re appropriating classical music traditions into pop.”
“Leave it to an American to take a scholastic project of limited
merit and magically transform it into a vast new opportunity for personal networking enrichment.”
(3 points noted in reverse order)
I myself might have made the above comment, yet as someone who also studied composition in Europe I know that the exact same stuff goes on there too. I mean really?
Unlike America; Europe, Canada too, has “official” composers.
The New York Rock and Roll Ensemble and Ars Nova were both known as classical crossovers many many years ago. I noticed no furrowed brows at that time. What made them such was their hardcore mainstream classical training. I would have a hard time accepting any musician who claims to represent a tradition without something more than mere success.
To suggest that popular music has no constraints is puzzling.
____________________________________________________
www.newmusicbox.org/articles/anthologies-and-the-problem-of-pre-fab-teaching
Phil Fried says: Your comment is awaiting moderation.
“…but to teach only the composers discussed in someone else’s textbook…”
“..to place these pieces in context, and make our complaints into curricula…”
I’m sure your not trying to be high handed, but you don’t seem to have considered the possibility that some of us are in no way connected to a college or University or will ever be. So my point of view is not as teacher but as a artist/composer trying to define myself; to find my own context.
What curriculum do we represent?
So for me this can never be a “professional” discussion.
Its personal.
________________________________________________
Phil Fried says:
“..all of these pieces have in common a treatment of the form as a sort of HISTORICAL artifact and not a living, breathing form…”
Untrue.
In my experience the large ensembles (orchestras and opera) have a better track record of style representation than American chamber groups (which tend to stick to a single style of new music). The Minnesota orchestra has commissioned serial music from me I’m still waiting for Bang on a Can.
Also:
Music is not in stasis and any art which reaches a point of stasis is dead. This makes the making composition lists well controversial. At best one can only mark the signposts on the way.
Phil Fried says:
“folk music being appropriated into a formal constraints…”
“If anything they’re appropriating classical music traditions into pop.”
“Leave it to an American to take a scholastic project of limited
merit and magically transform it into a vast new opportunity for personal networking enrichment.”
(3 points noted in reverse order)
I myself might have made the above comment, yet as someone who also studied composition in Europe I know that the exact same stuff goes on there too. I mean really?
Unlike America; Europe, Canada too, has “official” composers.
The New York Rock and Roll Ensemble and Ars Nova were both known as classical crossovers many many years ago. I noticed no furrowed brows at that time. What made them such was their hardcore mainstream classical training. I would have a hard time accepting any musician who claims to represent a tradition without something more than mere success.
To suggest that popular music has no constraints is puzzling.
____________________________________________________
www.newmusicbox.org/articles/anthologies-and-the-problem-of-pre-fab-teaching
Phil Fried says: Your comment is awaiting moderation.
“…but to teach only the composers discussed in someone else’s textbook…”
“..to place these pieces in context, and make our complaints into curricula…”
I’m sure your not trying to be high handed, but you don’t seem to have considered the possibility that some of us are in no way connected to a college or University or will ever be. So my point of view is not as teacher but as a artist/composer trying to define myself; to find my own context.
What curriculum do we represent?
So for me this can never be a “professional” discussion.
Its personal.
________________________________________________
