>Phil -- in my experience, it's not whether a piece is new or old, but
simply
>if it's and <good>.
I agree. But if it's non-tonal, it's not good.
Oh. What do you have against folk and pre-baroque music? In which terms
are they related to [not-so-]contemporary[-anymore] music, that it brings
a similar reaction in you? When does tonal music stops? Is the tristan
chord already out of limits? Are Petroushka and Le Sacre just garbage? Is
Debussy a psychadelic hippie?
Anything that hurts my ears when I listen to it, I stop listening.
Phil, pal, you are my model! That is, you are my anti-model. I'm still
"young", but I hope that my ears and specially my mind never regress to
such a vegetative, petrified state. That I keep eager to experiment new
things, new music, new theatre, art, sights, flavours and smells. Although
one's age rusts the body, it's one's head that rusts itself - in which you
are a master (you are not only a master of music). Whenever I feel tired
or down, I'll always think of you, and that will give me more energy not
to stop.
It seems like a simple concept to me, but I guess a lot of music people
have much less sensitive ears than I do.
Funny. I would say the opposite. Your simple-based comments and no urge
whatsoever to engage in a meaningful discussion that goes beyond the level
of "me no likey" or "he's good; he's a terrorist" reveal an enormous lack
of sensitivity, to which I (fortunately) don't often encounter.
I don't want to insult you, as my utmost feeling towards you is pity. I'm
sorry that you live in a so closed of a world, where anything that goes a
bit outside the norm ("defy" would be already a too strong of a word) is
simply shoved off, without a chance to even understand what could it be
about - you know, if someone (be it Cage, Pollock, Bach, or even you) gave
his time and effort to create something, and you want to say something
about it, the very least you could do is to even *try* (if that's not too
much to ask) to see if there's anything to it. And if after you *tried*
(and *tried* again) you don't like it, you can say "it's not for me".
Between that and "it's not good" is a giant step, you know? But correct me
if I'm wrong: we would like to know which are your founded, constructed
opinions to Cage's music, Pollock's painting, or anything else - we're all
willing to learn!
By the way, JS Bach's music wasn't played almost at all in his last years,
and it pratically disappeared until Mendelsson picked it up later
(Beethoven and Mozart only got to some scores late in their lives). His
contemporaries found it too far-fetched and overfull with counterpoint (a
kind of nowadays Ferneyhough), and they found him already back of his time
(you know, just like a guy "who don't know what current public option is,
[is] out in the dark."), preferring his son's CPE's works. His violin
suites (which apparently he could play - anyone correct me) are obligatory
repertoire in any violinist who wants to live from his bowing nowadays,
were considered not suitable or natural for the instrument. Is that enough
of a hint for you about relativity, need of understanding, and not to
consider yourself as the center of the world?
João Miguel Pais
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