• 20 Posts
  • 22 Comments
Joined 2 years ago
Cake day: June 30th, 2023
  • XenoceratopsOPMtoMusic Theory•Welcome to /c/musictheory!
    1·
    2 years ago

    I will join you in your optimism. Who knows, maybe this platform will pick up steam in the future. I’ve encountered quite a few technical challenges with Lemmy too, so I can see that if things persist as they are, there would be a barrier to people participating here.

  • XenoceratopstoClassical Music•J. F. Rebel: Les Éléments
    2·
    2 years ago

    Nice to hear a recent performance, and such a captivating one at that. The dynamics on the tremolos in the first movement are lovely. Nice bassoon part at 9:50, in the fire chaconne, too. Interesting percussion. Do you happen to know whether the percussion would have been historically accurate?

  • XenoceratopsOPMtoMusic Theory•NAETE: Adam Neely is Wrong About…… A LOT
    2·
    2 years ago

    The guy has a bachelor’s degree in performance from what amounts to a trade school. He’s a reasonably competent musician, but just like I wouldn’t expect a plumber with the same education attainment to be an expert in materials science and the history of municipal engineering, I wouldn’t expect a bass player with a performance degree to be an expert in music theory, music history, conducting, linguistics, or any of the other fields Neely comments upon when he has an agenda.

  • XenoceratopsMtoMusic Theory•I asked ChatGPT to create a five years music theory and music education course plan
    3·
    2 years ago

    I mean, roughly, it’s okay. The progression strikes me as very old school. Look at this:

    Year 5: Music Theory: Introduction to jazz harmony and improvisation.

    Guess what year jazz majors start doing jazz harmony and improvisation? 1! The logic here is something you see in theory textbooks from about 20 years ago, where everything past 1900 is treated as an addendum to what they considered the “normal” range of theory.

    My other criticism is that this curriculum is too vague, and this contributes to the unintuitive ordering of topics. Even if you went about learning it systematically, you would probably find yourself reshaping it based on the content you are learning.

    What would I do? Get a good modern theory textbook and go through it from cover to cover. Learn ear training topics in parallel to the theoretical topics.

  • XenoceratopsMtoMusic Theory•I asked ChatGPT to create a five years music theory and music education course plan
    2·
    2 years ago

    The formatting makes this difficult to read on mobile. Instead of this

    Introduction to staff notation and reading music in treble clef.
Understanding basic rhythms, including whole notes, half notes, quarter notes, and eighth notes.
Identification and understanding of major scales and key signatures.
Introduction to intervals (e.g., major 2nd, minor 3rd) and basic chord construction (major and minor triads).
Introduction to basic time signatures and simple meter.
Basic understanding of musical symbols, dynamics, and articulations.

    Try this:

    • Introduction to staff notation and reading music in treble clef
    • Understanding basic rhythms, including whole notes, half notes, quarter notes, and eighth notes.
    • Identification and understanding of major scales and key signatures.
    • Introduction to intervals (e.g., major 2nd, minor 3rd) and basic chord construction (major and minor triads).
    • Introduction to basic time signatures and simple meter.
    • Basic understanding of musical symbols, dynamics, and articulations.
  • XenoceratopsOPtoComposer•Ernst Krenek on Originality and the Royalties SystemEnglish
    1·
    2 years ago

    You might have misread Krenek. He acknowledges the present existence of a copyright system that grants inheritors royalties for a period following the composer’s death. His proposal is more radical: a tax upon the earnings of performances that would go towards a fund that would offer assistance to performers in the early prt of their career. This would have the effect of nurturing a lineage of musicians going forward rather than pulling up the ladder to screw future generations.

    I believe this objection could easily be overcome, if artists already established would contribute a fraction of their huge earnings to the encouragement of their struggling brothers and sisters through a fund established for that purpose. Here, too, the question of a sort of spiritual inheritance might arise. Why, for instance, could not a star conductor or prima donna devote, say, 1 per cent of his or her income to a fund which would enable young conductors or young singers to give their first concerts?

    In fact, just a few years after this publication, the American Federation of Musicians established the Music Performance Trust Fund to collect royalties from the recording industry and pay out-of-work musicians to perform free public concerts. The recording industry successfully lobbied against the AFM to dismantle the MPTF as it existed and put themselves on the board jointly with the AFM.

    Krenek was a communist and certainly imagined that a reformed royalties system—one that worked along the lines of labor unions rather than simply benefitting composers’ families—would be transformative on the creative industry. Indeed, without these measures, workers in creative fields have been forced to compete with each other, cheapening their labor like chumps while capitalists profit mightily from their efforts. See, for example, VFX artists’ working conditions.

Moderates