Re:Nationalist Anthems: Remembering a time when composers ma...
by natechols on Monday December 23, 2019 @03:28PM
(#21867058)
I spend much of my free time either playing or listening to classical music, so I'm very familiar with articles like this... and every time I read them, my mind translates the author's lament to "remember the good old days when cultural relevance and value was determined exclusively by upper-class middle-aged white people?" I make no apologies for being a cultural reactionary, but I question whether "the wider culture" - as opposed to the educated white elites writing for national media outlets - cared any more for Shostakovich in 1942 than they do today, or why indeed they should care in the first place.
Re:Nationalist Anthems: Remembering a time when composers ma...
by telesilla on Monday December 23, 2019 @04:37PM
(#21867650)
What an incredibly short-sighted article, I have so many points of rebuttal I'll offer just two:
- Firstly, millions of people can now listen to brilliantly-performed classical music and no- or low-cost. As compared to the few who could afford the luxury of the concert hall or wait for the radio to play such music.
- Secondly, the idea of the lone, genius composer is obsolete. Conservatory-style composition classes focus on teaching classical harmony at first, later expanding into modern concepts and compositional devices. This may seem to lead to the image of a Beethoven-esque composer, writing notes and conducting ensembles and orchestras, but the reality is that the composer of the 21st century is more of a collaborative structural-architect who grapples with technology as much as with harmony, melody and timbre: designing instructions and working closely with performers who provide, in turn, virtuosity.
I grew up listening primarily "composed" period music for ensembles and orchestras, and still have a great and profound love for it, but I have an increasing admiration for modern composers and musicians who have embraced all the aesthetics of their surroundings and the influences of their peers. Modern composer/performers/musicians have enriched music for us in all styles of music from pop to alternative to country. It's a wonderful time to be a listener, and it doesn't require a Rachmaninoff concerto to be impressed (though, we can still be impressed by Rachmaninoff..)
- Firstly, millions of people can now listen to brilliantly-performed classical music and no- or low-cost. As compared to the few who could afford the luxury of the concert hall or wait for the radio to play such music.
- Secondly, the idea of the lone, genius composer is obsolete. Conservatory-style composition classes focus on teaching classical harmony at first, later expanding into modern concepts and compositional devices. This may seem to lead to the image of a Beethoven-esque composer, writing notes and conducting ensembles and orchestras, but the reality is that the composer of the 21st century is more of a collaborative structural-architect who grapples with technology as much as with harmony, melody and timbre: designing instructions and working closely with performers who provide, in turn, virtuosity.
I grew up listening primarily "composed" period music for ensembles and orchestras, and still have a great and profound love for it, but I have an increasing admiration for modern composers and musicians who have embraced all the aesthetics of their surroundings and the influences of their peers. Modern composer/performers/musicians have enriched music for us in all styles of music from pop to alternative to country. It's a wonderful time to be a listener, and it doesn't require a Rachmaninoff concerto to be impressed (though, we can still be impressed by Rachmaninoff..)