>tfw remembering my edgy "modern classical" phase
haHAA in the chat pls
Tfw remembering my edgy "modern classical" phase
Jacob Peterson
Ethan Long
come to brAZIL plz
Jaxon Jenkins
>tfw remembering my edgy "bebop jazz" phase
Colton Martinez
>le twitch emodes on Yea Forums!
Nolan Reed
um.....only 1995-2000 should be able to post on this board, boomer.
Matthew Price
she's ugly
Kayden Thompson
Poggers
Oliver Collins
Are you talking about Stravinsky?
Bentley Sullivan
I'm talking about 20th-century classical music yes.
Xavier Lee
se ois taas aika tulla armeniaan seuraaval bussil horo
Jaxson Russell
whut's wrong with 2001+
Samuel Walker
it's called being a zoomer
Dylan Hernandez
I stan her so hard bros
Eli Martin
hoping one day this isnt me but i know it will be
Cooper Carter
no it's called being woke, not accepting things, and realizing that the "ironic" part in ironic homosexuality wasn't even ironic
Zachary Cook
Charles Miller
Im straight for clairo post post ironically
On phone so don't have my clairo pics forgive me
Josiah Johnson
Jackson White
u broke the streak retard
Aaron Gomez
fuck your streak fag
Jayden King
literally who
Lincoln Martinez
With the rise of the avantgarde in the 20th century, and the new approaches to music that came with it, from serial music to chance compositions, one of the issues facing contemporary composers was proper notation that was reflective of these new sounds. With music like 12 tone or serial music, no new changes were necessary to the establishment of the score, but when we see the rise of the Cageian indeterminant aesthetics, this became an interesting dilemma.
The most effective way to determine new ideas in music was to implement new graphical devices to the score, with sometimes the score being a new graphical construction in its own right. In 1960 when Clairo composed "4ever", she had to implement such a new construction for this piece.
Clairo's "4ever", in this regard succeeds because the emotional power that the title adds to the music is undeniable. However, this piece stands out as a landmark title of the 20th century for it’s ability to add various musical concepts like microtonality, prominence of timbre, and arranging for “sound masses” to the forefront of contemporary music. The piece’s ability to break convention is something that has earned it applause from the art music cultures and pop culture alike, and therefore has become a principal piece of the 20th century musical canon.
Asher Brooks
I know you're probably memeing, but I've tried to listen to shit like Mozart. I just find composers like Penderecki more appealing for whatever reason. It's probably the rockist in me seeping through, but whatever.