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Thread: Why Postmodernism In Music Is Bad (Sucks)

  1. #721
    Senior Member Enthusiast's Avatar
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    ^^ So you have told us there are only four worthwhile classical composers and that you have been through the rest and after a few hearings found nothing left to hear in each work. And now you want to dismiss many noted composers as not classical. You have enough experience in talking about music to know that your views are unique. You know, for example, that most classical fans expect a masterpiece to go on rewarding them for their whole life. I wonder why you think it is so different for you?

    Telling us in no uncertain terms what you views are is not helpful to any of us who want to understand where you are coming from. You need to tell us how it is so many of us are wrong and do more than say that you categorise music differently to most of the musical world.

    As I actually like the composers who you have not got bored of - even if this is without elevating them to the pinnacle - I would like to hear interesting things from you. What about individual works by, say, Pettersson? How would you compare his many symphonies? Are they similar or individual?

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    Senior Member eugeneonagain's Avatar
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    So in general, according to Professor Best, all the older standard 'classical' is worthless and destined to be forgotten within a thousand years (though almost all culture tends to fade from the fore in the space of a millennium - hence the profession of reconstructing 'lost' history). What we have left is a wafer-thin, narrow window of genius, after which all else is new-age music.
    BREXIT - Merde in Britain.

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  4. #723
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    I've been following this thread for a while now and somewhat coincidentally came across this article last night about John Adams work Harmonielehre which seems to fit right into this topic:

    https://www.theguardian.com/music/to...re-tom-service

    Adams is quoted here as saying "This is a work that looks to the past in what I suspect is a 'postmodernist' spirit, but … it does so entirely without irony", and the article goes on to discuss the references to Wagner, Mahler, Schoenberg and Sibelius that are evident in the work. I've always loved this piece and thought it one of Adams' best, but these insights gave me a new appreciation of what he's doing here. Some may not agree that this really represents 'postmodern' music, but I'd challenge anyone who isn't familiar with the piece to give this a fair listening and coming away really believing that it 'sucks'.

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