On Sunday 19 June 2005, Matthew Fields wrote in alt.usenet.kooks:
> In article <slrndba0p7.iv4.slvrmn@[EMAIL PROTECTED]
>,
> Albert Silverman <slvrmn@[EMAIL PROTECTED]
> wrote:
>>On 2005-06-17, Adam Golding <adamgolding@[EMAIL PROTECTED]
> wrote:
>>> on the contrary, Schoenberg's book rules! it might be good to combine
>>> it with something more orthodox, like aldwell and schacter, but the
>>> Schoenberg is really good at stimulating *thought* about theory...
>>>
>>> (and i'm surprised Al doesn't adore it, scathingly as it does speak of
>>> traditional musical education and its dogmatic answers)
>>
>>You are missing the point. While both Schoenberg and I speak scathingly
of
>>traditional musical eduction, it is for quite different reason.
Schoenberg
>>disparages the compositional product of traditional rules, regulations,
>>dogma, etc. In particular, he does not believe in the "tonality" that is
>>implicit in traditional compositional style.
>
> In other words you have not the slightest clue what's in Schoenberg's
> books.
"Schoenberg and I". Teehee.
>>In contrast, it is not the *music* itself which I disparage, but rather
>>the traditional *explanation* of this music; an explanation which is
based
>>upon its compositional *style*, rather than upon its *principles*.
>>Traditional composition is indeed chord-based, whereas the theoretical
>>principles which Schoenberg later came to embrace are *not* chord-based.
>>
>>So my battle is an attempt to get these chord-based principles out there
>>in a different manner than the obfuscated and absurd manner that they
are
>>traditionally "explained."
>>
>>
>>Albert Silverman
>>(Al is in Wonderland!)
>>where relevance is irrelevant
>>along with understanding
>>
>
> The real contrast, Al, is that Arnold Schoenberg knew what he was
> talking about. Alas, you don't, not even when describing Schoenberg's
> writings.
Perhaps Al would like to quote the passages in which Schoenberg
disparages tonal music. He could start with the contempt Schoenberg
expressed for the compositional methods of Johann Strauss Jr and
Johannes Brahms.
PJR :-)
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