Perhaps it is just me but I don't like to be bloggers who patronize and I'm afraid that MNG does nothing but. I have no patience for those who will not stand behind their own opinions.
http://www.newmusicbox.org/articles/higher-than-an-eagle/
Phil Fried says:
“…it would be interesting to compare the cost of the string quartet to the cost of the helicopters….
Does groupon have a coupon?
Phil
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http://www.newmusicbox.org/articles/by-any-other-name-2/
Phil Fried says:
“..I still think it’s just more rewarding to play music with other people, though…”
As someone who performs solo improvisations almost exclusively, though I do interact with electronics, ensemble improvisation can devolve into playing historical roles. Not to mention just loud and fast. Of course this is not always true. That said,I’m not much interested in fulfilling the historical role of the jazz bass player, even in a free jazz setting. Sure sometimes I do that, I do think of myself as a professional, but there are many other folks much better than I for that task. Solo improvisation is different.
Problematic for me is also the tendency for folks to see musicians only in terms of the quality of those they perform with. For me that is not possible either.
Oh well.
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http://www.newmusicbox.org/articles/the-unimaginable-otherwise/
Phil Fried says:
“..To me, it’s a bracing reminder that the “unimaginable otherwise” has always been the only real frontier of new music…”
True, yet why only interpret this to mean opening up closed forms and completed compositions? Do I really want to spend my all time recomposing the works of others? One might argue that that is what composers do anyway. Sure. Then again it depends on how, if, or what, you model.
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http://www.newmusicbox.org/articles/reappraising-walter-piston/#comment-10138
Phil Fried says:
“…I for one don’t see any comments above that would remotely be describable as “ignorant” or “anti-intellectual.” Perhaps you could clarify your meaning?..”
Hmmmm. I do. I believe Mr. Smith was refereeing to Mclaren’s post actually. Personally I’m surprised that such a post was allowed here.
Phil Fried says:
“..Coercive dogmatists are fundamentalists…”
Who is forcing who to do what? I really have no idea what you are talking about. I note this; that you seem to project a view of art as a see-saw. That is for one composer to be up you must put another composer down.
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http://www.newmusicbox.org/articles/the-role-of-doubt/#comment-10396
Phil Fried says:
Schoenberg continues to fascinate, even those who despise him.
Oddly one legacy of Schoenberg’s arrogance used by many composers, even those who despise him, was his claim that there was a musical enemy that was actively working against him. One sees this in the many straw man augments used by composers that appear even on these very pages.
A close look at these claims shows that they are false, and self serving, except in the case of Schoenberg’s music.
In his case the opposition was real.
My 2nd reply--which was not printed!!!
last reply
It does not surprise me that many of the comments on this page fall into some category or another. Some of which are outside the purview of musicologists and historians.
http://www.newmusicbox.org/articles/higher-than-an-eagle/
Phil Fried says:
“…it would be interesting to compare the cost of the string quartet to the cost of the helicopters….
Does groupon have a coupon?
Phil
_____________________________________________________
http://www.newmusicbox.org/articles/by-any-other-name-2/
Phil Fried says:
“..I still think it’s just more rewarding to play music with other people, though…”
As someone who performs solo improvisations almost exclusively, though I do interact with electronics, ensemble improvisation can devolve into playing historical roles. Not to mention just loud and fast. Of course this is not always true. That said,I’m not much interested in fulfilling the historical role of the jazz bass player, even in a free jazz setting. Sure sometimes I do that, I do think of myself as a professional, but there are many other folks much better than I for that task. Solo improvisation is different.
Problematic for me is also the tendency for folks to see musicians only in terms of the quality of those they perform with. For me that is not possible either.
Oh well.
_______________________________________
http://www.newmusicbox.org/articles/the-unimaginable-otherwise/
Phil Fried says:
“..To me, it’s a bracing reminder that the “unimaginable otherwise” has always been the only real frontier of new music…”
True, yet why only interpret this to mean opening up closed forms and completed compositions? Do I really want to spend my all time recomposing the works of others? One might argue that that is what composers do anyway. Sure. Then again it depends on how, if, or what, you model.
_________________________
http://www.newmusicbox.org/articles/reappraising-walter-piston/#comment-10138
Phil Fried says:
“…I for one don’t see any comments above that would remotely be describable as “ignorant” or “anti-intellectual.” Perhaps you could clarify your meaning?..”
Hmmmm. I do. I believe Mr. Smith was refereeing to Mclaren’s post actually. Personally I’m surprised that such a post was allowed here.
Phil Fried says:
“..Coercive dogmatists are fundamentalists…”
Who is forcing who to do what? I really have no idea what you are talking about. I note this; that you seem to project a view of art as a see-saw. That is for one composer to be up you must put another composer down.
__________________________________________
http://www.newmusicbox.org/articles/the-role-of-doubt/#comment-10396
Phil Fried says:
Schoenberg continues to fascinate, even those who despise him.
Oddly one legacy of Schoenberg’s arrogance used by many composers, even those who despise him, was his claim that there was a musical enemy that was actively working against him. One sees this in the many straw man augments used by composers that appear even on these very pages.
A close look at these claims shows that they are false, and self serving, except in the case of Schoenberg’s music.
In his case the opposition was real.
My 2nd reply--which was not printed!!!
last reply
"...Actually, Phil, there is already an established term in musicology for this. It’s called the “lachrymose perspective.”
Though this "jargon" may be inclusive of my comments Mark, I'm not sure that we mean the same thing here. (Though obviously to have an enemy, and go public with it, would involve some negativity).
Jargon aside my point this; it's one thing to have an enemy another thing to pretend to have one.
Though this "jargon" may be inclusive of my comments Mark, I'm not sure that we mean the same thing here. (Though obviously to have an enemy, and go public with it, would involve some negativity).
Jargon aside my point this; it's one thing to have an enemy another thing to pretend to have one.
It does not surprise me that many of the comments on this page fall into some category or another. Some of which are outside the purview of musicologists and historians.
