|
Ricardo -> RE: Segovia and flamenco (Mar. 30 2013 17:34:59)
|
quote:
My take on 4'33' is that Cage is ....
See now was it so hard to do that rather than get all bent out of shape at people that don't like it who simply must not be comprehending the thing? It was actually kind of hard to push and poke to get that out of you. [;)] I try to think like a Paleontologist trying to describe the life and times of a T-Rex by looking at his poo, while the majority tries their darndest to step over or around the stuff and move on with no care for the ancient creature (6000 years at least. [:D]).
I put 12 tone row in "Atonal" category (even though on small scales you have options to evoke tonality or modality). What grisha says is when we think of that music it is not so interesting as when an other dimension of understanding is introduced. I feel the same about cante and other challenging musical taste issues. Most often atonal music, far removed from "modes" which are "Moody" sounds, evokes only one type of image....that part in the movie where we are all distressed or scared. A single color being conveyed. I sort of blame movies for this too. But I feel when discussing atonal music a super important element is glazed over, and it bugs me. Rhythm. Atonal composers feel compelled to be 'a rhythmic" as well, or at least not make extensive heavy use of interesting groovy "feel" type rhythms, which in theory could totally change the overall "color" and mood of a piece and make the compositional devices so much more accessible both to general audience, and more musically eclectic audiences as well. I am generalizing, but I have heard things done in this regard (more often by percussionist based composers), and it's like night and day to me. I admit, I am not so big fan of non-cool-rhythm compositions that are also tonal. But I don't see a balance in the "contemporary classical music" world. Focus is WAY too much on what is or isn't happening with notes/harmony.
|
|
|
|
