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10,116 Views ā¢ Jun 11, 2022 ā¢ Click to toggle off description
Views : 10,116
Genre: Music
Uploaded At Jun 11, 2022 ^^
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RYD date created : 2024-06-18T21:01:57.95297Z
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YouTube Comments - 93 Comments
Top Comments of this video!! :3
Iām pretty much a self taught composer and study on my own,music school didnāt do much for me. The art of composition is alive and well but In a different format now a days
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I think if there is a next generation of composers then they need to come from entirely outside the academic tradition. Not in accordance with it and not in reaction against it.
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I studied "composition" and was fed a diet of "compose for sticks and stones" and "that sounds like something, so you cannot use it because it is wrong to sound like someone else" or "that sounds like a dead white male"...which means that I gave up any thought of composing due to lack of skills that are needed by having studied with someone who had the skills to pass along. My professors had ZERO skills to pass along or simply told me that if he taught me what he knew, I would be his competition. Considering how much tuition was, it was a joke and crime and I discouraged my own children from even attending university as it was a waste of both time and money.
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There is more future for composition than human beings.
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This is the problem. We really need a multi-pronged discursus on all the causes of this. My top picks (and it is a multi-vector problem) would be: 1) genre exhaustion; 2) tonal exhaustion; 3) anxiety-of-influence neurosis; 4) the coarsening of the culture; 5) the shattering of the culture into a million niches; 6) the lack of a post-postmodern sense of the "heroic self" that might compose in the same way as before?
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I take this as referring to the specific kind of sophisticatedly-crafted, intellectually searching notated music ("actual composed pieces") which has been dominant for the last 4 or 500 years.
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If that's the case, perhaps he should look at his own part in that - as a sought after composition teacher for decades. Seems like he's undermining large part of his lives work in a few sentences. But I hope not.
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From the early 1700s on, āmoving the affections of the soulā was a major goal of most composers. The art of composition became either a variation of or reaction against this humanistic consensus. What united the composers is that they had some tacit consensus or conception of the human(istic) hardware they were writing for. If neuroscience or another field does not give us a fresh blueprint for new psychologies and philosophies of audio processing at a human level, we may be looking at a couple of generations of compositional experimentalism sowing in the winds of time.
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"There goes the last wave ... *
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If a 20-year-old wanted to dedicate himself to composition, would you tell him that it's a good idea? Bearing in mind that art matters less and less
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Composition is changing, therefore itās dead. Is conservatism a sign of health, or of sickness?
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I don't care about the cultural scene at all, I compose for me and my very close friends
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Even if AI will not completely erase the composer's profession in itself (and I am not talking about pop or ambient composers, of course, which are already being easily substituted), as explained in the video we are too many, and that makes impossible for several talented composers to emerge. Nevertheless, those few who do will be able to be there not only because of talent.
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I think there are more people interested in being composers because there are more people: e.g. world population ā
1 billion 1804
2 billion 1928
3 billion 1960
4 billion 1974
5 billion 1987
6 billion 1999
7 billion 2011
8 billion 2023.
I think it is a serious problem.
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I was under impression that the last generation of composers was around the 1920ās. I guess not. There have been stragglers sure, but a whole generation?
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as a young composer, I heavily disagree.
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I get a lot of flack from my peers when I try to describe my music tastes to them. They seem to lack an understanding of composition. They enjoy music thatās heavily focused on production and mixing, but is very lacking in composition, which I frankly find incredibly boring. Why would I want to hear the same recycled chord progressions over and over again across different songs? The lack of creativity these days is astounding, but only my closest music buddies are capable of understand that in my life.
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Wise
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Yes, and I hope it is. Academy won't refresh aesthetically nor technically, and the contemporary music scene is surely outdated in philosophy, while a lot of other forms of musical expression have arised throughout the 20th and 21st century. Music scores are no longer needed, nor orchestras. True new music doesn't come from erudition and, even better, new music doesn't need the approval from the academy to be considered new. Erudite contemporary music has put itself apart from society and, as a result, completely lost its importance while trying to elevate music to a science-like exploration. Good news is, nothing is that extreme, and this musical practice that seems fragile and close to death won't just die, but blend in other musical expression forms. But surely, the best thing I did as a composer was to jump out of the contemporary world, for various reasons
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@99jdave99
2 years ago
In my opinion this is a symptom of the intense neoliberalisation of society since the 80s. Even beyond the commonly mentioned cuts to public spending (housing, mental health (see Regan's deinstitutionalization), transportation, public works in general, education, and (in countries where it's relevant) healthcare, and so on) negatively impacting the "safety" of focusing on pursuing creative work, the increasing trend of society forcing individuals to need multiple streams of income to get by has resulted in many people becoming more "marketized." The relative absence of one-income-stable-employment has long been a reality for musicians (very common that they've needed to do lessons, composition, performance, and teaching all at once), but one of the largest steady-income sources for them that used to be open to some (especially the popular ones), collegiate teaching, has been disappearing over the past few decades. It's been speeding up recently too, with the increasing focus on "optimizing" higher-education, as many institutions are doing. It's led towards an increased focus on "profitable" degrees (aka, more STEM-researching degrees), large budget cuts to the arts and humanities (history, music, art, social sciences, writing, teaching, etc.), and a decreased focus on tenure positions to replace them with adjunct "per-semester" based faculty, (often paying less, with worse benefits, and with worse stability). This has especially hit composers hard, since (as far as I know), composers are especially drawn towards collegiate institutions for stable income (via tenureship and so on). That combined with budget cuts to the arts (both via austerity and an increased view of public spending through the lens of direct-profitability) has really negatively impacted composers. I think this is moreso the reason behind the disappearance of "the independent composer," since finding a long-term steady employment that isn't behind some other project is increasingly rare (if not at risk of disappearance). On the bright side, it's easier than ever to listen to music, create music, and at the same time there's more stuff than ever to create music for (the indie-game scene, visual media of all stripes, and so on), hence the "hundreds and hundreds of composers" he mentions, but right now they're having to fight against this increasing disappearance of long-term stable employment. Nowadays you really have to become the "entrepreneur of the self" in this kinda field; you need to market yourself (via instagram/tiktok/youtube/twitter/bandcamp) and create things constantly wherever you can (fiverr (and other gig-economy spots)/games/videos/memes) to "get customers" and stay relevant. If you don't, you can easily fade away unless you're already established (and thus have a wide gamut of potential livably-paying "gigs" you know you'll have a strong chance of picking up later), or have a steady patreon income stream you know you can rely on for the near-to-mid-term future. I think the amount of composers will continue to expand or stay steady (at least, until a) everyone who's interested in it is doing it, b) conditions get even worse for the majority and lead towards fewer people who can spare the time to do it, or c) society changes and lets more people have the time to enjoy life), but this need to "spread out your eggs" will mean that the "independent composer" will continue to fade away (again, unless society changes for the better), with the exception of the lucky few who manage to get a strong patreon-esque income or have income elsewhere (aka, parental privilege and the like). I think the bigger issue facing composers is how burnout-causing/-prone the current paradigm is; the common-necessity of "quick," "frequent," and "steady" output, the general trend of "toxic productivity," and the risk of coming to worship the grind (just look at the online hustle culture scene for that in action), all with the stress and health problems those things entail. It's a really difficult thing to balance, having to be active all the time to stay relevant and have an income stream (unless you "break out" of it, often/usually through luck), and going too far and ending up in the realm of constant productiveness and burning out after a few years. Check out this video for a good video about this kind of thing, how neoliberalism results in this kind of trend: https://www.youtube.com/watch?v=wyRDjh45GcQ
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