On 4 Feb 2005 at 9:01, Dennis Bathory-Kitsz wrote: > At 08:41 AM 2/4/05 -0500, dhbailey wrote: > >they look for that good old mix of dissonance and consonance > >where the composer builds the tension masterfully and controls the > >release, so that the audience feels good at the end. > > Let's mix it up some more! :) > > There have been some pretty intense commentaries about this > tension-release technique being sexually analogous and > gender-specific, and that in recent years, women composers have > emancipated their writing from the build-to-climax model implicit in > harmonic and architectural tension-release, and that women listeners > are drawn to the sound of the newer paradigm.
I don't think anyone in the scholarly world has accepted any of those analyses as anything other than interesting stretches of an analogy. > This viewpoint was expressed to me by a younger composer (mid-20s) who > was, how can I phrase this, 'sad but understanding' about her talented > older colleagues' capitulation to the male compositional model, and > was happy to see her contemporaries had set it aside. Many young people become missionaries for utter bullsh*t. -- David W. Fenton http://www.bway.net/~dfenton David Fenton Associates http://www.bway.net/~dfassoc _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
