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The State of Modern Music

Today's practice what we once considered "modern" music suddenly see themselves to be alone. A confusing game of not making music that the disciplines and tools of research required for their formation set. Stories circulate now to strengthen and expand this unwelcome development. Once upon a time, one can not even too much music in the U.S., unless well prepared to the commandments and teachings to bear the serialism. Now if you hear of professors shamelessly studying scores Respighi to the magic of their mass taste extract, we know there is a crisis. This crisis is the perception of even the most trained musicians. Composers today seem certain difficult truths hide in relation to the creative process. They have their search for the tools that they create really striking and challenging listening experience helps abandoned. I believe that is because they create a lot of ideas in modern music are confused! First, let's examine the attitudes that are necessary, but that have been abandoned for the development of specialized disciplines in the creation of a permanent modern music. This music that we can and must create a crucible in which the magic is brewed in our souls, and it is this that frames the leaders of our templates very creative evolution in thinking. It is this generative process that had its heyday in the early 1950s. In the 1960s many aspiring musicians had the wonders of fresh and exciting new world of integrated serial Stockhausen, that love has become all the rage back then. It seemed boundless excitement, then. It seemed there would be no limits to the creative impulse; composer could do anything, so it seemed. At the time, most composers were not really serialism carefully examined for its inherent limitations. But it seemed so fresh. But it soon became clear that Stockhausen's exciting musical approach that was fresh and not so much the serial nature itself to which he then married. It became clear later that the methods he uses two special considerations to overcome the ultimate serial devices have been born: The intersection of tempo and metrical patterns, and especially the concept that pitch and timbre treated as special cases of rhythm. (Stockhausen pointed to the crossovers such as Contacts, and he even one of his compositions, which authorizes this area contacts investigated.) This gesture, as it turns out, are truly independent of seriality that they can be explored from different approaches. The most spectacular approach was then serialism, however, and not so much the (then acting) sidelights. It is precisely this approach - serialism - but that, after apparently opens up so many new doors, germinated the seeds of modern music very own demise. The method is very susceptible to mechanical divination. Consequently, it makes it easy composition, such as following a recipe. In serial composition, the less thoughtful composer can seem to distract his mind away from the compositional process. Inspiration can be buried as a method exists. The chaotic intricacies note design and epiphanies one experiences of necessary partnership with one of the essences (within the spirit and the soul - in a sense, our confidant) can be disposed of easily. Everything is inside out. Everything is fragmented. For a long time this was awarded the method, long hallowed by class teachers and young composers to be equal, at least in the U.S.. Soon a feeling of sterility emerged in the musical atmosphere, many composers began to investigate what was going on. The replacement of sentimental romance with atonal music was an important step in the recovery of the music from a sluggish Cul-de-sac was. A music that would closet himself in banal self-indulgence, as it seemed to fall apart with romance would occur. Here came a time for exploration. The new alternative - atonality - arrived. It was the fresh, if seemingly harsh, antidotes. Arnold Schoenberg had stored music, for the moment. But shortly thereafter made a serious tactical blunder Schoenberg. The 'rescue' by the introduction of a method to control with the shared process and order could be subject to cut off! I have some sympathy here for express Sch? Nberg, who was helpless in the sea of freedom provided by the disconnexity atonality. Large forms depend to some extent the sequence. was needed for him a method of order. Serialism was a good answer? I'm not so sure it was. Its introduction provided a magnet to all those who need explicit maps from which they could build, felt would attract. At the time, Stockhausen and Boulez arrived at the scene, serialism was touted as the cure for all the musical problems, including lack of inspiration! One minute pause and think of two pieces by Schoenberg, that the issue be brought to light: Pierrot Lunaire, Op. 21 (1912 - pre-serial atonality) and the Suite, Op. 29 (1924 serial atonality). Pierrot ... seems so important, unleashed, almost insane rage in his special report, while the suite sounds sterile, dry and forced. In the latter piece, the tension was lost. This is what serialism, seems to have to do music. But the attention she received was disproportionate to its generative power. Boulez once even proclaimed to all other composition as "useless"! If the "illness" - serialism - was bad, a "cure" him - was even worse - without a chance. In a series of lectures in Darmstadt, Germany, in 1958, succeeded John Cage to prove that the result of the music written by chance differs very little from the written serialism means. However, the chances for the public left confused and angry. Chance is chance. There is nothing to hold on to those not lead to the mind. Even powerful musical personalities, such as Cage, often have difficulty reining in the raging dispersion and diffusion, the random scatter, seemingly aimlessly. But once discovered, many schools, particularly in the U.S., a sensation in the making with the entry of free opportunity in the music scene, and uncertainty, a new mantra for anyone to create something a little interested, so long as it was new. I believe in passing that some admit Cage quarter that we are reluctant to cede to others. Chance often has become a stronghold of the lack of discipline in the music. Too often I have this result in university classes seen in the U.S. that 'teaching' found (!) 'Music. should make the severity of the discipline in the music never gone in search of a music that is "found", instead of being pushed together. However, in a most peculiar, it seems the power of the Cage's personality, and his surprising sense of rigor and discipline to his "chance" Art, where other composers simply save flounder in the sea of uncertainty. But bequeathed as a solution to the rigor mortis Sun cosmic music of serial controlled, the chance is very poor stepsister. Cageian the composer the chance to talk music, can make to the soul, is a rare bird indeed. What seemed lacking for many of the scent, makes the music was so wonderful atmospheric. The atmosphere, which could trigger a Debussy, or the fear that was relied on by Schoenberg (or provoke), appeared with the modern technocratic or unconventional ways to evaporate the new musicians. Iannis Xenakis shaken the world of music with the potent solution in the form of a "stochastic" music. As Xenakis' work later would develop clear in Desk in connexity and disconnexity and provides a template for Julio Estrada's Continuum, the road to restoration of the power, beauty and fragrance in sound was. All of this conceptual approach in a "modernist"! Once again, however, took the U.S. university environment more (usually under the suffocating influence of the serial method, Milton Babbitt) to remind us that it is not nice music by making it to him by "borrowing" from extra-musical disciplines. While his book, talks with Xenakis, the author, Balint Andr? S Vargas, joined by Xenakis, the evolution of Xenakis' work approaches of extra-musical considerations. Physics concepts come to fruition, such as noise propagation material through a crowd or hail showers on metal roofs. Some refer to horrible memories of war experiences suffered by Xenakis, culminating in a severe wound. To form such a powerful sound, concepts had used natural phenomena can be marshaled. From the standpoint of music lessons, are two things disturbing about Xenakis: one is its relatively little formal musical training, the other or reverse side of his scientifically oriented educational background. In ways no one else had done in the history of music ever marshaled Xenakis concepts, the birth of a musical atmosphere that no one could ever expect there to exist in a setting. A striking feature is a sound setting, Brownian motion of a particle emulated on a liquid surface. This deeply physical concept needs to restrict the movements of high-performance mathematics of the (analog) sound 'particles' and make them true to the concept Xenakis had in mind. It is as a result of a certain lack of precision, although a physical smoothness, the movement of sound particles. Nice musical smoothness and transition to unforeseen development and transformation. This concept blows the skin from the traditional concepts of musical pattern setting! His shimmering shadows are unwelcome in the gray gloom of the American classroom. In the rush to keep things musical musical and certain undesirable developments, the official musical intelligence (the press, the elite U.S. university, professors, etc.) managed to find a way to resolve false heroes for the disturbing Xenakis replacement. Around the time of Xenakis' entry into the musical scene, and his unsettling delivery of the vibrant musical landscapes, telephone with sensational theories for stochastic incarnations, a group of composers emerged who promised to supply us from evil, built with simple-minded solutions on shaky intuitive building. The so-called "cluster" group of would-be magician musical are included Krzysztof Penderecki, Henryk G? Recki and Gyorgy Ligeti. This new musical favorites, with its simple methods, gave us the first taste of the soon to emerge post-modernism, who gave us a ticket to the promised land for the last thirty years made. It seemed that, just like music finally seemed not a master of the caliber and importance of Bach, Schoenberg, Bartok and Varese in the person of Iannis Xenakis, history and musicology texts to be able to withdraw not embrace fast enough to the new savior , all the time find a comprehensive conspiracy against creativity quickly and well embedded in the chaos of the stochastic process. Unfortunately, Xenakis had been banished from American history, as much as the powers have been able to do this! His competition, which was in the intuitive cluster school the game plans of the new music landscape, since their work is so much easier than that of Xenakis. Simple composition, analysis and listening are the new watchwords of this signal success in the music world. Those who extol such virtues to herald the arrival and flourishing of postmodernism and all its facets, be it neo-romantic, clustering or eclecticism. The proud cry these days is, "Now we can about everything we do." Perhaps better to do nothing than to embrace such intellectual cowardice. The promise of a return to musical perfume, which was in harmony and synchronicity with intellectual power walk precious and important. It should signal the next phase of development in the creative spirit. The challenge was to write this potential marriage of the humanities overwhelming. Lack of adequate text seemed to exist. So I had to provide one. All that was missing for a good book was a common theme. Algorithms control the migration of the sounds. Algorithms are diagrams that work the properties of sound, so it makes sense to develop. An algorithm is a step-function, which can range from a simple diagram to stochastic or Boolean functions. Serialism is also an algorithm. While they are important algorithms take second place in importance in the eyes of the music: its sound. This concentration is for a term of composers, Gerard Pape: sound-composition. Is not this all based music sound? It's all sound, after all. Well, yes, but not really. The point of the term, the focus of the concept is to mark on the clay instead used the funds for its genesis. In the sound-composition, the focus is on a sound, it evokes the way to do it. In serialism, takes precedence over quality orders. The result is often bland: an empty sound. Pointillism directionless music robs its important role in the evocation of images, in any form. The other leading practitioners of sound-based composition is Dr. Julio Estrada. In composition courses and seminars at the UNAM (Universidad National Autonoma de M? Xico) he emphasizes the spiritual formation of an imaginary, as it were, an idealized images. Then the composer / inside will be seeking to create a conspiratorial tone being that some of the? Lan to formulate this imaginary taught. Only if the speed of sound thought construct, the method of the equalizer in the form of notation is used. Understanding of images and the scent preceding its specification. This is a sophisticated example of sound-based composition. A strange, special case arose from the obscure methods of Giacinto Scelsi, who made explicit what has long been lurking in the background. He postulates a "3 rd dimension to sound. He felt that the problems were with the serialism in their dependence on two dimensions in sound: pitch and duration. For Scelsi, offers a depth of timbre, or 3 Dimension, rarely studied up to his groundbreaking work. He devised ways to call for unusual timbres and developments in the sound, which in its focus on the features of the episode, and the transformations between (within!), attributes of the individual notes. In fact, his Quattro Pezzi veritable study in counterpoint within individual tones! The concept of sound composition, provided the unifying seed to a book which could be built. that is, music with meaning requires, challenge, discipline, ambiance and a little courage and commitment in its concept: It would be one that could salvage something from the first principles of the Union of intellectual discipline and a pulsing sound context. This would be a music special, beautiful, strong, seductive fruit, which still reveal their secrets only reluctantly yields demanding skilful elaboration of its magic. This epiphany led to a road by which we restore the ideal of musical performance Xenakian accessible by all processes which have their basis in physics and architecture in the world could have around us. Here was not only the answer, the antidote if you will, to the inflexibility of serialism, but also a cure for the sloppiness of the unlimited possibility composition. Here was a way out of the impasse faced composition in the 1960s. The question should not use the method to compose, because that only leads to dead ends (serialism, chance, or withdrawal), but why compose? What is not explored in the musical universe, can open paths, roads, something that reveals the touch a soul? What is the best way to achieve this? If we leave the streets in search of unique and challenging, we are the first generation will announce more in the music that regression is progress that less is more. But the great apostle of postmodernism we will only believe! They hold that the public has rejected the modern world, the public has held the modern bankrupt. Post-modernists are you promised in the trap, the unmitigated by its nature, serialism only lure his downfall. "The only path to modernity is sterile complexity, we must root out and return to simplicity, we will not be a marketable product, other." This is the thinking that we minimalism, the closest relatives to "muzak" one can conjure up in art-music. A composer, a unique avant-garde, actually apologized for his former Modern, on stage, the audience before the screening of his latest post-modern work! There is an inscription in the halls of the monastery in Toledo, Spain: "Caminante, no hay caminos, Hay que caminar" (Pilger, there is no road, only the travel costs). This was a wake for one of the most courageous pilgrims music history - a fighter for the freedom of spirit, for the body, and for the ear: Luigi Nono. His example could serve us all well. He sat down in serious danger as a fighter against the oppression of all kinds, not least the musical art, it takes courage to create. It will not be easy! Nothing worthwhile ever. It seems to me that Nono's example serves as an antithesis to that of the earlier composers. I explore music history of the 20th Century in order to find clues to why certain composers create more tension than others. Is it possible that a solid foundation has composition in an intuitive way from back in the 19 Century flourished? Was around for a while, but just not explicitly codified as such? I think that Sun In a way, the roots of this idea can in the so-called nationalism of composers like beard? K and Janacek be found. Nationalism is something of a bad reputation for folksy, cutesy concoctions reminiscent usually get around him. But on reflection and review of the more stringent efforts result in nationalist composition enormous fruit. Note especially Bart? K highly original equipment of twelve-tone tonality (as axis positions and special chords). Less well known but equally important are the special folk vocal inflections residence in Jan? Cek music. These special qualities spilled over from the singing to the instrumental writing. It seems that we (concentrated composition to specific sound characteristics) a strong argument for sound-based composition in music from the turn of the 20th Century roots to make. The process of creation is the focus, not the glorification of the superficial sounds that only imitate real music. The reintroduction of Xenakis, Nono, Scelsi's ideals and Estrada's superiority was decisive. The recognition of these trends, in preference to those engaged the more simple and easily the most attractive of Penderecki, Ligeti and others, had to be ensured. The simplistic appeal of the cluster music had to be resisted. If we not make this distinction clear, everything that follows nonsense. Too many people modernism apply to everything in the 20 Century, which contained a little dissonance resided. This is a common mistake. For others, there are in every epoch of modern art - it's just what happened at a certain time, and is appropriate as a description for the music in this period. Again, this is wrong, for its reluctance to confront the creative process. We do not have to do it this impulsive descriptions yield, for this makes the efforts of the 20 deep Century meaningless. There is a thread in the music, that qualifies as a modern, or modernist, and it is not only a time frame. Modernism is an attitude. This attitude appears regularly in music history, but it is most effectively understood in the context of creativity, most found pronounced late in the 20th Century. Modern music is composed the music that results from research into the properties of sound and the ways how we perceive sound. It usually involves experimentation to carry the experiment yields specific findings, the fruits in the act of composing. This distinction is important because although many clusters music, and some neo-classical music, contains high dissonance, whose focus is reactionary. The experimental work of Schoenberg, Berg, Webern, Bartok, Varese, and that some Stravinsky, is forward looking, that the music is not a solution to itself: it provides a template for further work and exploration in this area. All the more, the works of Cage, Xenakis, Scelsi, Nono and Estrada. The composers chosen for discussion in this are the ones I used for the exemplary models in the development of sound-based composition. They are as follows:-Janacek (nationalist tone) -Debussy (chord-staining) Mahler (expressionism and tone color theme) -Ravel (Impressionism) -Malipiero (intuitive discourse) Hindemith (expressionism in a quasi-tonal context) -Stravinsky (octatonic diatonic) -Bartok (axial tonality, Curved, golden section under construction) Schoenberg (expressionism, atonality and tone color melody)) Mountain ("tonal serialism) -Webern (canonical forms in serialism, sound color melody) -Varese (noise, tone / range hierarchies) Messiaen (modes limited implementation, irreversible rhythms, chords color) -Boulez (special live electronic instruments) -Stockhausen (pitch / rhythm dichotomy) -Cage (uncertainty, noise, live electronics) -Xenakis (ataxia, stochastic music, indoor / outdoor time on the internet, random walks, granularity, non-periodic scale) -Nono (near inaudibility, mobile sound, special electronics) Lutoslawski (chain composition) -Scelsi (the 3rd dimension in tone, counterpoint within a single sound) -Estrada (The Continuum) There is so much brilliance in the world, and so much noise that we made incapable of reflection and creative thinking. We are humbled at the thought of a little challenge. We are paralyzed when faced with the challenge of keeping our evolutionary heritage in focus. We can not afford to trade off quality for mediocrity just because mediocrity easier and more tempting. This was not an acceptable social outcome. To live, we need to grow. To thrive, we can not rest. Entertainment is a laudable pursuit in specific settings and times. It may not have the power drives our lives. If a composer wants to popular music, that's all write to order. But the composer must be honest about his reasons for it. Do not write a conversation and then try the public by claiming the great music system is equipped. It is best to be in a position to implement the key to writing a music that can discover a need to meet tomorrow. By understanding the nature, the nature of sound and of human existence, we can write music can convey something essential. This goes beyond entertainment. It fulfills the main purpose of music: providing a teaching role. What better way to go through a learning process than at the same time find yourself wrapped in a cocoon of beauty? Music can be our best teacher. It is all right to find the beauty in old documents. Respighi is also very charming, engaging. It can also be heard equally well with soothing, melodious music, as to write such music. But we can not do as a composer better than this? Why do we can not otherwise enjoy, tomorrow? Young composers are now at a crossroads. You can perform an important mission by fulfilling a tradition with a cultural heritage. Today's composers have to start thinking about it and compose it.

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