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The word "classical" implies that it will be. That's why some contemporary composers prefer to call the tradition they are working in "art music" or "concert music".
That is a good point, but I think that's a little pretentious.
But how many people stuck in the classical tradition like it?
That is interesting. I didn't know the cello could produce those sounds.
Here is an "electronic" artist. I'm not a big fan of the genre as a whole (maybe I don't have enough exposure), but this is a pretty creative and interesting track. There are a lot of these artists. One of my friends is big on the genre (also loves Classical too) and appreciates the artistic merit of many of these composers.
The word "classical" implies that it will be. That's why some contemporary composers prefer to call the tradition they are working in "art music" or "concert music".
That is a good point, but I think that's a little pretentious.
So...? Your perception of it is up to you; it is not inherent in the facts.
The word "classical" implies that it will be. That's why some contemporary composers prefer to call the tradition they are working in "art music" or "concert music".
That is a good point, but I think that's a little pretentious.
So...? Your perception of it is up to you; it is not inherent in the facts.
The word "classical" implies that it will be. That's why some contemporary composers prefer to call the tradition they are working in "art music" or "concert music".
That is a good point, but I think that's a little pretentious.
So...? Your perception of it is up to you; it is not inherent in the facts.
There is a revival of "classical" music composition in video games. NPR ran a couple of segments on the composition process and the production process. Rather like the music composed for the silent movies in the early '20's.
Seiler 206, Chickering 145, Estey 2 manual reed organ, Fudge clavichord, Zuckerman single harpsichord, Technics P-30, Roland RD-100.
The word "classical" implies that it will be. That's why some contemporary composers prefer to call the tradition they are working in "art music" or "concert music".
That is a good point, but I think that's a little pretentious.
So...? Your perception of it is up to you; it is not inherent in the facts.
There is a revival of "classical" music composition in video games. NPR ran a couple of segments on the composition process and the production process. Rather like the music composed for the silent movies in the early '20's.
And there's the whole genre of chiptunes (I think steel drums would fit in there nicely, but no one listens to me).
Before 1860 or so nobody could really have a concert career if they didn't play their own music.
This is how it should be.
I'm not so sure about that. Wouldn't that mean that not only would all performers have to be composers, but that all composers would have to be performers, otherwise who would play their music? The performers would all be playing their own.
There is a revival of "classical" music composition in video games. NPR ran a couple of segments on the composition process and the production process. Rather like the music composed for the silent movies in the early '20's.
I'm glad you put the term in quotes. Pseudo-classical pastiche isn't really what classical musicians think of when they use the term, I don't think.
Really not that different from listening to Berg or other second Viennese School composers. Besides, this style of mixed media was around since the late '40's. Gunther Schuller has some pieces in this style, as well as pieces for prepared piano. It's interesting, but not that innovative.
Something like the Block string quartet from the mid '50's is more interesting, and uses conventional instrumentation. I think the issue is how well does the piece wear with time.
Let's not forget that a large number of movie scores and musicals are written by classically trained composers, even if the music has a popular sound. Think Abba, Gershwin, Bernstein, or Michel LeGrand. The opera scene is similar (Nixon in China).
Last edited by gynnis; 12/11/1401:12 AM.
Seiler 206, Chickering 145, Estey 2 manual reed organ, Fudge clavichord, Zuckerman single harpsichord, Technics P-30, Roland RD-100.
Really not that different from listening to Berg or other second Viennese School composers. Besides, this style of mixed media was around since the late '40's. Gunther Schuller has some pieces in this style, as well as pieces for prepared piano. It's interesting, but not that innovative.
Something like the Block string quartet from the mid '50's is more interesting, and uses conventional instrumentation. I think the issue is how well does the piece wear with time.
Let's not forget that a large number of movie scores and musicals are written by classically trained composers, even if the music has a popular sound. Think Abba, Gershwin, Bernstein, or Michel LeGrand. The opera scene is similar (Nixon in China).
None of which changes what I said. I think most classical musicians have a concept of the meaning of the term that doesn't include video game music or, for that matter, most movie scores, regardless of the training of the composer. The intent and reason for existence of the music is just not the same.
But we live in a time of cultural disintegration, so I expect the distinctions I am talking about will cease to exist before long. Many people think that has already happened, but I don't agree that it has quite yet.
Remember, Mozart was a cross over artist too. Think Magic Flute. I'm sure his father had cultural disintegration on his mind (if he was still alive) when he heard his son was working on it.
Seiler 206, Chickering 145, Estey 2 manual reed organ, Fudge clavichord, Zuckerman single harpsichord, Technics P-30, Roland RD-100.
Remember, Mozart was a cross over artist too. Think Magic Flute. I'm sure his father had cultural disintegration on his mind (if he was still alive) when he heard his son was working on it.
As far as I know, The Magic Flute is considered to be classical music. I know, that's not what you mean, but it IS what I mean. Just because the genres weren't defined in the same way in Mozart's time doesn't really speak to our own time, IMO.
This is an interesting question that I've thought a lot about.
I'd say by and large, YES, they are. Part of the problem is that whenever a pianist tries to be imaginative in his/her playing, they are usually chastised for it because of the whole "It's about the composer, NOT about you" thing, so the imaginative instinct gets weeded out of them early on. After all, there is only so much imagination you are allowed to expend when playing someone else's music.
One very interesting thing I've noticed is that a lot of the most imaginative pianists - or pianists who take extreme deviations from the score (ex. Horowitz, Gould, Emile Naoumoff, Paderewski) all started out as composers or continue to be composers. Those pianists whose playing is very "By the book" (Brendel, Serkin, Pollini), do not have a history of wanting to compose, or at least it is not as well-docuemented as the others.
I don't think there is any limit to the amount of imagination a pianist is permitted to expend. What is limited is creativity.
It may be argued that Horowitz's performances demonstrated more originality or creativity than Brendel's, but that says nothing about their relative powers of imagination.
By the way the Wikipedia article on Brendel mentions that as a young man he composed a sonata and played it at his first public recital.
In Baroque music, continuo players were expected to compose on the fly from a thorough bass line. The entire Handel organ concerto oeuvre is written this way (granted, Handel expected only he would play them). While plenty of early music specialist can write out a thorough bass accompaniment today, how many can do it on the fly?
Improvisational music is much the same, and it is alive and well. Besides the usual jazz work, there are people like George Winston.
If you sit for an AGO exam you are expected to be able to improvise from a theme, at least several minutes worth, without preparation. The greats can put 30 or more minutes together.
Most older European organist don't even have music in the loft, the whole service was often improvised from hymn tunes. Faure was quite expert in this genre, and his later songs all have the imprint of chant harmonizations.
I think composer/performer separation is probably a figment of the academic imagination. A lot of performers compose regularly, if extemporaneously. Cadenzas anyone?
Last edited by gynnis; 12/11/1402:53 AM.
Seiler 206, Chickering 145, Estey 2 manual reed organ, Fudge clavichord, Zuckerman single harpsichord, Technics P-30, Roland RD-100.
While plenty of early music specialist can write out a thorough bass accompaniment today, how many can do it on the fly?
As long as they were getting the proper training most should have no problem filling out the harmonies reading from figured bass. When I took a harpsichord accompaniment class we had to remove written realized figuration in the score to force us to come up with our own. Its not unlike what a guitarist or pianist does when reading jazz lead sheets.
The early music movement has brought back a lot of the improvisational elements inherent in Baroque music.
While plenty of early music specialist can write out a thorough bass accompaniment today, how many can do it on the fly?
As long as they were getting the proper training most should have no problem filling out the harmonies reading from figured bass. When I took a harpsichord accompaniment class we had to remove written realized figuration in the score to force us to come up with our own. Its not unlike what a guitarist or pianist does when reading jazz lead sheets.
The early music movement has brought back a lot of the improvisational elements inherent in Baroque music.
Right. The more you practice/immerse yourself in it, the more used to it you get, until it becomes natural/second nature. Takes a lot of practice and experience, though.
