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Showing content with the highest reputation on 01/01/2011 in all areas

  1. I'm just saying, you know, it's pretty good, and maybe someone else would like to listen to it? would likely never have happened if I didn't bump the thread...
    1 point
  2. Hey, this is pretty good.
    1 point
  3. Idk. I think you could show a little more effort. But whatever. It's your choice.
    0 points
  4. The thing is, you can't get more specific than that. Come on, "How do I develop a piece?" That answer changes piece-by-piece. Basically th only two things you can do is variate something you've introduced or add something new! As for "NETWORK" -- people need to. No one does. Instead of asking questions from an e-guide, they should be AT LEAST asking questions of e-people instead... It's all about meeting people and just going to bars and talking it up with strangers about music. You'll find one dude who's looking to put on a show, and then you sell your music if it seems like a good business deal. I dunno -- I just would rather see people try and fail before they go to a book for "all the answers." That "common knowledge" isn't too common. And really, of course, if someone wants to be led by the hand, they're not going to like the harsh realities of it all: that you have to figure out the best way for you, and outside help isn't going to be that helpful....
    0 points
  5. These questions aren't hard. Concerning the creative aspects of writing a piece: 1. How do I find my own ‘sound’? - Don't worry about it. Write music the way you want to and it'll be "your sound." What might suck is that your sound is derivative, or whatever, but that's nothing a lot of listeninig can't help. 2. How do I get the sound in my head on to the page? - Notes - Ear Training. Timbres/Sounds - active listening with scores to see "oh this is how he did it, I can do similar things." 3. How do I develop an idea/finish a piece? - Develop: play with it, add counter-themes, variate the parameters in ways. Finish - with a sign that goes || 4. How do you overcome ‘writer’s block?’ - Either force yourself to write or do things to become inspired. 5. Where do you find inspiration? - If you have trouble with inspiration, you're in the wrong business. Read, watch, play, learn. If something in your life doesn't make you want to write, you're not going to write. 6. Which program do you use for notation? - Whichever one you're most comfortable with works to begin with. Make sure you read/learn about score preparation to see if that program can last you to professionalism. 7. Do you write at the piano? - I'm not a pianist. Why do something uncomfortable unless that's the whole point of the piece or whatever? Concerning the business of being a composer: 1. How do I get my music performed? - NETWORK. 2. How do I get my music published? - NETWORK/DIY OR DIE 3. Should I get my music published, or should I self-publish? - In the Internet age of 2010: DIY OR DIE. 4. What is a copyright, and how do I get my music copy-written? - It is once you've "published" it. Scribd helps. A website helps more. Don't want to "share" because "someone might steal it?" Once it's "published," no one can steal it -- all kinda of timestamps. Then again, if he registers his, things start to get increasingly hairy -- but that's a concerted thief. 5. How do I get commissions? - NETWORK or make your own shows. 6. How much should I charge for a commission? - One idea is a decent wage, the other is nothing. See what they offer, if it sounsd right, then it's right. If it doesn't, then don't take it. 7. Can I make a living as a composer? - You can make it if you try. Like being a musician, it's hard because of the limits on opportunity, but hard work and NETWORKING pays off. Not like I've succeeded or wanted to. 8. What is ASCAP? Or BMI? Should I join one of them? - I honestly wouldn't worry about this until you have a traditional record/publishing deal. Seriously? BMI? That's for royalties management and whatnot -- are you at the level that you're not physically talking to the people playing your music? Why do you need a composition guide then? Probably why he stopped working on it. He realized he was done before a book was written :P That's why I want to see this thing -- what question doesn't have a short, koan-like answer that sends noobs thinking?
    0 points
  6. Personally, I think the whole "artistic freedom" thing is a bunch of baloney invented by composers to justify their music when its not received well by audiences. If you can't have the sense to make your music accessible to an audience, then why bother? Without them listening (as opposed to just hearing) and understanding the music, there whole performance is valueless. The composer only has so much control over the music. It is not our job to shove our idea down the audiences throat, but rather to give them an avenue to experience something through music so that they can come up with their own ideas about it. This is the beauty of music, imo, because a work that is crafted well and sounds good can lead to multiple interpretations of its meaning. Despite the fact that, say, two audience members heard the work at the same concert or two conductors performed it slightly differently, the music will still be new and fresh and giving new meaning every time it is played. Those are the true masterworks. They may be intellectually over the head of the audience, which isn't necessarily a problem, but what is most important is that they identify with the aesthetic content to a point where they can latch onto it and say "Yes, this," whatever that this is, "is what I'm experencing now. But wait! There it is again slightly differently!" (As the development section starts, for example.) AntiA is spot on when he talks about the human memory. Music that is not memorable will become irrelevant immediately after the applause is done. We need to strive as composers to make our music relevant to the audiences that listen, not just ourselves. If we only write what we want, then our music will fall into oblivion and the art form will truly die.
    -1 points
  7. Check out this little amazing nugget of "music history:" Indeed. I love the "Rastafarian" bit at the end, it's hilarious. But if the mental image isn't clear enough, this is what the guy actually postulates as his hypothesis on art history (I guess?) Yeaaaaaaaaaaah~ Cuz the last article I linked to was too intelligent, so I need to compensate. It came from this unreadable post: httx://insomnia.ac/commentary/on_the_genealogy_of_art_games/ It's a hilarious (un?)read if you're in for some LOLs. As a sidenote, I find it worked best by just randomly jumping to different paragraphs rather than start at the beginning, it's all stupid anyway. Plus it's kind of like a box of surprises that way. Happy new year, everyone.
    -1 points
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