Context can be a lot--people can handle and assimilate lots of music in movies (or even opera) that they would never take in a straight concert setting. In my experience this applies equally to Ligeti, Johann Strauss, and Richard Strauss.
ajr ---- "David W. Fenton" <[email protected]> wrote: > On 27 May 2010 at 8:11, Christopher Smith wrote: > > > Andrew, I don't get this. I checked the vocal score (took me until > > this morning) and although all 12 pitches occur at some point in this > > piece, it is neither twelve-tone (as I understand it) nor atonal. > > > > Am I missing something? > > In addition to that, by the time The Fantasticks came out, there'd > been decades of film music that consciously borrowed the most > advanced musical techniques from avant garde composers. I am > convinced that the fact that this music became part of the vocabulary > of film scores is one of the reasons younger people have little > difficulty with non-tonal music -- they've been hearing it their > whole lives and have a framework of meaning in which to interpret it. > > -- > David W. Fenton http://dfenton.com > David Fenton Associates http://dfenton.com/DFA/ > > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
