The state of modern music

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Today, the practice was considered "modern music of today is seen to be alone. A game is a source of confusion for all kinds of musical fields and search tools are necessary for its birth. The stories are moving forward to strengthen and Expand this worrying trend. There was a time, the same distance a music school in the United States if they are well prepared to take the commandments and doctrines of serialism. When you feel now brazenly teachersRespighi study scores to extract the charm of its mass audience, we know that there is a crisis. This crisis is the perception of music, even better training. Composers today seem difficult to hide the truth about the creative process. They have their search tools to help them truly remarkable and difficult listening experience is abandoned. I think it's because they are confused about a lot of ideas in modern music! Do

First, we examine the attitudes that are necessary, but were abandoned by the development of specialized disciplines in the creation of a permanent modern music. This music, you can create and we need to provide a crucible where the magic happens in our souls, and that is that our evolution models of creative thinking. This is the generation process, which bloomed in 1950. In 1960 there were many budding musicianslove with the wonders of the world new, fresh and exciting integral serialism, which Stockhausen was then in full. Seemed boundless enthusiasm, so. There seemed no limit to the creative impulse, the composer could not do anything, it seemed. At that time, most composers are not really serialism a major overhaul of its inherent limitations. But it seems so cold. However, it soon became very interesting musical proposal that was cool Stockhausenrather than the sign, where he married. It became clear after the birth of two methods used to overcome the special considerations of the final series devices: through rhythm and metrical structure, and deals mainly with the concept, tone and timbre as special cases of rhythm. (Transitions Stockhausen as "Contacts", and one of his compositions, the right contacts to explore this area.) This act, as you really areregardless of the serial which will be studied from different approaches.

The single most spectacular was then serialism, however, rather than the side lights (currently interim). It 'just that approach - standard - but, apparently after many doors open, the buds of the death of modern music. The method is very sensitive to mechanical divination. Therefore, it is simply the composition as a prescription. In the seriesA member may be less reflective composer apparently to divert his mind leaves the writing process. Inspiration can be buried, because there is a method. Epiphanies known chaotic complexity necessary partnerships and experience with one of the species (in the mind and soul - in a sense, our friend) can be easily removed. Everything is upside down. Everything is compartmentalized. For years he was awarded the method, the time taken by the class teacherand for young composers, like, at least in the United States. Soon the feeling of sterility appeared in musicals, many composers began to investigate what was happening.

The replacement of the sentimental novel with atonal music was an essential step to save the music of a clumsy Cul-de-sac was. A study of the music itself would be trivial to be complacent, as appears to be the case with the decline of romantic, I would. There was a time of exploration. The new alternative- Atonality - has arrived. E 'was great, but apparently hard antidotes. Arnold Schoenberg had recorded the music for the moment. But shortly after Schoenberg made a serious tactical error. The "rescue" was the introduction of a method to control the splitting process, and could be reduced! I must express some sympathy for Schoenberg, who feels powerless in the sea of freedom under the disconnexity atonality. forms depend on a limited number of largeSignificance of the sequence. For him, a process is in order, it was necessary. Serialism was a good response? I'm not so sure. Tighten the proposal to introduce a magnet for all those who need explicit maps could be constructed from the models they think. At that time, Stockhausen and Boulez arrived, serialism is seen as the panacea for all problems of music, including a lack of inspiration!

A pause for reflection at two minutes and works by Schoenberg that the problem identified:Pierrot Lunaire, Op. 21 (1912 - before the series atonality) and the Suite Op. 29 (1924 serial atonality). Pierrot ... seems important to the wind, almost mad at the noise, the rest sounds sterile, dry and forced. lost in the last part of the tension. This is what serialism, seems you have to do music. But the attention he received was disproportionate to its generative power. Boulez, also once proclaimed to all other compositions as "useless"! If the disease "- serialism- It was poor, one of his "cures" - available for free - was even worse. In a series of lectures in Darmstadt, Germany, in 1958, John Cage can prove that the outcome of the music written for the event is very different from writing on the series. However, the opportunity seems to leave the public confusion and anger. Chance is the case. There is nothing to cling to those who do not mind. Even powerful musical figures such as Cage, often have difficulty controlling the destruction and dispersalEmissions than the random scatter, seemingly without purpose. But again, many schools, particularly the U.S., a sensational discovery of production, with the possibility of free entry into the music scene, and the uncertainty has become a new mantra for anyone to create something that is not as serious as it was still new .

I think the way Cage recognize some areas are reluctant to sell to others. Luck is often become a bastion of lack of discipline in music. Too oftenI have this outcome in the study of American University that the education to see "who is (!)" Music. The severity of the discipline in making music will never go looking for music to be expelled, "found" together. But especially, it seems that the strength of personality of Cage and his uncanny sense of discipline and rigor to his "opportunity" to save the Arts, where other composers simply wade through a sea of uncertainty.

However, as a solution to the cosmic rigor mortis leaving Sunmusic control, the possibility of a bad sister. The composer Cageian the opportunity to talk about music, able to take the soul, is a rare bird. What seemed missing was for many the smell that makes the music so wonderfully atmospheric. The environment that could remind one of Debussy or Schoenberg may fear that the use (or do), seemed to evaporate with modern forms of technocratic mind or free to new players. Iannis Xenakis has rocked the music world with a powerful solutionCovered by a "stochastic music. Because the context of the development work after disconnexity Xenakis was one of continuum Julio Torri Estrada, the path of re-introduction of the personal power of beauty and fragrance of a clear sound. All this in a approach of modernist design!

Again, however, the environment has become more American universities (usually under the influence of methodological series covered, Milton Babbitt) to remember not to make good musicthat through "loans" extra-musical disciplines. Although his book, interviews with approaches Xenakis, the author, Andras Balint Vargas, Xenakis, development work by Xenakis extra-musical considerations. The physical concepts involved as propagating noise through a crowd, showers or hail on metal roofs. Some refer to the memory of the terrible experiences of war Xenakis, causing serious injury. The most powerful personThe sounds, the natural phenomena that have similar concepts marshal. In terms of music classes, two things that most concerned about Xenakis: one is its relative lack of musical training outside or rear of teacher education in science. As for no one else had done in the history of music forever, concepts calculated Xenakis, the birth of a musical environment that no one had ever thought of a scenario could exist. ProminentCharacteristics is an environment that simulates the Brownian motion of a particle on the surface of a liquid. This concept of deep mathematical physics requires more power for the movements of the analog () to restrict the particles of sound ", and do so with the concept of Xenakis had in mind. It 's the result of a lack of detail, despite the softness Suitable for physical motion of particles. Nice music elasticity and smooth transition to unpredictable change and transformation.This concept of strokes on the skin of the traditional concepts of musical creation! Its iridescent shades are not welcome in the gray twilight of American class.

in the rush to celebrate music music business, and some negative phenomena, musical intelligence official (print, elite American university professors, for correction, etc.) managed to find a way to Xenakis false hero replace disturbing. Around the time of entry on the music scene Xenakis, and concernThe promulgation of the vibrant music scene with sensational theories corresponding stochastic embodiments, a group of composers who have emerged promised to provide the iniquity of us simple solutions built on unstable building intuitive. The so-called "cluster" group of aspiring music magician include Krzysztof Penderecki, Henryk Gorecki and György Ligeti. This new music, with its simple methods, gave us the scoop on the soon see the dayPostmodernism, which has emerged as a ticket to the promised land for the last thirty years. It seems that, like music, then, seemed a master of the stature and importance of Bach, Schoenberg, Bartok and Varese, in the person of Iannis Xenakis, history and musicology texts can take quite quickly for the withdrawal of the Saviour, but works against time to embrace all the creativity was quick and good in the tumult of the embedded stochasticProcess.

Oh, Xenakis was banned in American history, and authorities were able to do so! Her expertise, which was in the group of school inventory intuitive view of music as their work is much easier than that of Xenakis. Easy to write, analyze, and listening are the new magic words that signal success in the music world. Those who extol the virtues, as if to announce the arrival and development of postmodernism and all its facets, be itneo-romantic, group or eclecticism. The cry of pride these days is: "Now we can talk all we want." Perhaps better to remain silent, as such, embraces the intellectual cowardice do.

The promise of a return to the smells of music, which was in harmony and synchrony with the intellectual force of valuable and important work. It should be noted the next phase of evolution in the field of creative arts. The challenge of writing this potential marriage of the humanities, was overwhelming. NotIt seems appropriate text. So I had to provide one. The only thing missing for a good book is a unifying theme.
Algorithms migration control sounds. The algorithms are the models that determine the nature and solid work to develop to make sense. An algorithm is a step function, which can vary from a simple diagram or stochastic Boolean functions. Serialism itself is an algorithm. Although significant, the algorithms for second place, in effect, the emphasis of the music: the sound.This concentration is given composer terminology, Gerard Pape: sound composition. Not a sound based on the music? All is well after all.

Well, not really. The point of the term, the objective of the strategy is sound, instead used the funds for the relief of its genesis. focuses on the composition of his sound-based, then invokes the way to go. In serialism has priority over quality. The result is often obsolete: emptySound. steal music without division direction of its crucial role in the evocation of images, in what form. Practitioners of other leaders of the sound composition based on Dr. Julio Estrada. In composition courses and seminars at the UNAM (National Autonomous University of Mexico), focuses on spiritual formation of a class of imaginary idealized images. Then, the composer and depend on a sound party, in essence, make some of the emotions that transmits images.Only if the thought of solid construction, a method of treatment in the form of notation is used. The understanding of images and the smell of its previous specifications. This is an example of the composition of its refinement.

A curious case arose from specific methods and mysteries of Giacinto Scelsi, who has made explicit what had long been in the background. Apply a 3 dimension to the sound. "I thought that was the problem with lists of majorConfidence in the two dimensions of sound: the tone and duration. I chose to, has a serious tone, or 3 dimensions, rarely studied for their innovative work. He has developed methods that require unusual sounds, and changes the signal in its emphasis on the characteristics of the sequence, and the transformations between (maximum!) The attributes of each note. In fact, his real study in shades Four pieces of counterpoint different!

This concept is based on solidThe composition is the seed of the unification of a book that could be installed. It would be one that could one of the first principles of the Union of intellectual discipline and a vibrant sound save the environment: is music with meaning, challenge, discipline, the environment and the courage and commitment needed in their design some. This is a music player and one that bears fruit, strong, seductive, but to put their secrets are reluctant to open up, askcommercial development of its magic.

This epiphany reveals a means by which to restore the ideal of musical interpretation Xenakian accessible by all processes that rely on physics and architecture in the world could have around us. Here, not only the answer, the antidote if you will, the rigidity of serialism, but also a remedy for the inefficiency of the informal settlement opportunity. This is a way out of the impasse was to compare the composition in 1960. TheApplication should not use the method of composition, which leads to a dead end (dial serialism, chance, or withdrawal), but why? What in the world of music that is not well understood roads, paths, that can open to reveal a soul stirring? What is the best way to do this?

If we abandon the search for streets and a unique challenge, we will post the first generation to always be in music a step further, less is more. But the mostApostle of postmodernism is to have us believe! They argue that the public rejected the modernism, the modern audience has gone bankrupt. The post-modernists is drawn in the trap because of its complexity, serialism promises of destruction. "The only path to modernity is the tailings complex, we have this root, and a return to simplicity. We are not a marketable product, different." With this in mind that minimalism has given us, the familya "Muzak" can evoke the art of music. A composer, an avant-garde, apologized for her former modern stadium, the audience before the presentation of his last place of employment post-modern!

There is an inscription in the halls of a convent in Toledo, Spain: "Traveler, there are ways of hay, straw works" (Pilger, there is no path, only travel expenses). This was a model for a music history of the pilgrims brave - a fighter for freedom of the mind, body,and the ear: Luigi Nono. Their example can serve us all well. He sat in grave danger, at least as a fighter against oppression of any kind, not the art of music, it takes courage to create. It will not be easy! Nothing worthwhile ever. I think the example of Nono serves as the antithesis of that of earlier composers.

I examine the history of music of the 20th century for clues about the reasons for composers to create more tension to find than others. YouIt is possible that the composition of the solid base 19 of intuitively prospered step with the times? We have here a bit ', but not explicitly coded as such? I think so. In a sense, the roots of this idea called nationalism of composers like Bartok and Janacek is. Nationalism reminiscent of a bad reputation for cutesy concoctions people usually get around him. But on reflection and analysis, the most rigorousEfforts in the national composition of significant results. Note special team of twelve Bartok tone seems very original (for example, the positions of the axes and special agreements). Less known but equally important are the private residence in the tone of people Janácek. These special qualities from the edge of extended instrumental writing. It seems that we are a strong argument for the solid composition (composition, which focused on the unique qualities of sound)roots in the music of early 20th century.

The creative process is the object, not the exaltation of the surface of the sound, to imitate the only real music. The reintroduction of Xenakis, Luigi Nono, Scelsi and ideals important Estrada is crucial. Recognizing these trends, the advantage of cheap and married before something more attractive Penderecki, Ligeti and others, must be guaranteed. The simplistic appeal of the group had to endure.

IfWe have this distinction is not clear, what follows is an absurdity. Too modern applies throughout the 20th century, that the residence contained a little dissonance. It 's a common mistake. For others, there are in every epoch of modernity - is simply what happens in a given time, and agrees that the description of the music of this period. It 'also wrong to deal with their negative attitude towards the creative process.

We must not yield to these descriptions impulse to domade the effort of the deeper meaning of the 20th century. There is a common thread in music, will be as modern or modernist, and is not qualified for a time. Modernity is an attitude. This attitude appears regularly in music history, but to understand the most effective in terms of creativity, more pronounced in recent years of the 20th century found. Modern music is music that the results of research on the properties of sound and howhear sounds. usually consists of experiments, the experiment produces results fruits in place of compose. This distinction is important because music, although many of the clusters and the neo-classic, contains a strong dissonance, the approach is reactionary. The experimental work of Schoenberg, Berg, Webern, Bartok, Varese, Stravinsky, and some, has a vision that music is not a solution in itself: a presentation of work andExploration in this region. In particular, the works of Cage, Xenakis, Scelsi, Nono and Estrada.

The composers selected for discussion, are the ones I have for role models in the development of sound composition. These are:

"Your nationalist Janacek ()
Debussy (agreements coloring)
Mahler (expressionism and the melody of colors)
-Ravel (impressionist)
-Malipiero (speech input)
Hindemith (expressionismquasi-tonal context)
-Stravinsky (diatonic octatonic)
-Bartok (axial curve hue, golden section) Construction
-Schönberg (expressionism, atonality and melody sounds))
Mountain ("tonal serialism)
"Webern (canonical forms of serial music, the tone of the melody of colors)
And Varese (noise, tone, or hierarchies of range)
Messiaen (modes of limited transposition, rhythms irreversible, solid-color)
Boulez (live electronics)
Stockhausen(Pitch dichotomy of rhythm)
Cage (uncertainty, noise, live electronics)
-Xenakis (ataxia, stochastic music, the attributes of the input-output time, random walks, granularity, scales non-recurring)
Ninth-(inaudible next mobile audio, special electronic)
Lutoslawski (chain composition)
"I chose (the 3rd dimension in sound, in counterpoint to the sound equipment)
Estrada (Continuum)

There is brightness in the world and so much noise that weincapable of reflection and creative thinking. We are humbled to the idea of a small challenge. We are paralyzed by the challenge of preserving our heritage point of evolution. We can not make compromises between quality of mediocrity because of mediocrity easier and more attractive. This would be an acceptable social outcome. To live, we need to thrive. To prosper, we can not rest.

Entertainment is a commendable effort in specific contexts and times. Can not bethe driving force of our lives. If a composer wants to write fun music, so good. But the composer must be honest about their motives for doing so. Do not write a conversation and then treat the public with the complaint, the scam is great music. It 'better to be in a position may be the key to writing music that responds to a need today to discover. By understanding the nature, the nature of sound and the human, we have something to write musicessential. This goes beyond conversation. Consistent with the main purpose of music to play a pedagogical role. What better way to go through a learning process to meet, all wrapped in a cocoon of beauty? Music may be our best teacher.

And 'normal to find beauty in ancient documents. Respighi can also be very charming, attractive. You can also listen to soft music, melodious, like writing music. But we can not do better than the composer?Why do not you know anything fun tomorrow? Young composers are now at a crossroads. You can learn to play an important mission for a tradition that carries on a heritage. composers of today must begin to dream, and it is composed.