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Where the gently caress have I done that? I've said that there is no loving cutting edge of anything, I've maintained this position for practically years now. The avantgarde is dead and all that you're saying is just bullshit projection of what you imagine my position is, but not at all what I've kept constantly saying because your reading disability prevents you from remembering scraggy like this. No, that'd be practice what you say I'm preaching, which I'm not. At all. What makes you think that what I'm saying doesn't apply to modern writing as well? There's plenty of people out there who make the effort to sound like X or Y current popular composer for contests, etc, out of fashion or trendiness. It's just as stupid. I don't think writing in any given style automatically makes you amazing, that's idiotic. I don't think that people have to only limit themselves to writing "modern" (whatever that may be) since this is also idiotic. I'm against people limiting themselves to any single style (as a lifelong thing) and I don't care WHICH style this is. As for "new version" of an old style, that's neoclassicism and is, ho ho ho, "modern." I'm all for THAT. What I'm against is attempted 100% "accurate" replicas as a lifelong goal, I don't care of what.

Firstly, that kind of language will get you banned. I am not the sort of busybody who delights in taking offence in behalf of absent minorities, but 'spastic' is crude, offensive and not a word you should ever require in a public space. Wolfgang, like the vast majority of users here, is trying to provide you with valuable constructive criticism, and you insult him in return for making a very reasonable request. We are not a review dispensing service and have no obligation to provide you with any feedback on any of your music, so you should be grateful that he is sufficiently interested in your work to ask this in order to be able to do so. Secondly, just stop and consider for a moment why we might be so insistent on having you put a score of your piece up instead of 'just listening to it'. Thought of any reasons? Here's five just off the top of my head. First, it means reviewers can point out exactly what they are talking about. If I want to comment on something you write, it's a hundred times clearer for us both if I say 'the D# in bar 56' or 'the timpani entry four bars after figure D' rather than 'some wind instrument after the loud bit a couple of minutes from the start'. It simply doesn't work with a recording. Second, it allows us to see things not apparent to the ear. If you write a melody for two bassoons, a horn, three clarinets and the viola section in unison, only the most experienced ear can hear that exact combination of instruments, and even then with difficulty if the recording is MIDI. Thirdly, many of us like to 'hear' the score by looking at it on the page rather than have a poor computer-synthesised version. Fourth, many things are easier to spot when looking at a graphical representation of the music. String bowings, articulations, phrase markings, instrumental doublings, and many more. Fifth, assuming you intend at some point for actual musicians to perform your work, the correct preparation of a score and parts is as important as the quality of the music itself and you should give it equal care and attention. Performers - and being a semi-professional one myself I can safely speak with authority here - hate badly written or badly presented parts, even to the point of refusing to play the work if they can. You can imagine what this does to the reputation of a composer, which is why all good composers produce a decent score and parts.

I wouldn't really say that the 'mavens of modernism' are being defensive or that the paradigm has changed. It's just annoying that STILL we're even dissing things we hate about other things. We all have pet peeves BUT we all can say that we ALL love creating music. Regardless of whether you're a baroque revivalist, classical enthusiast, neo-romantic, or modernist, we all are composers.

why not just listen to it all u stupid spastic

Well the criticism, discouragement and ridicule is somewhat deserved as well since writing style copies as a life-long goal is pretty much like saying you'll only eat cheeseburgers for the rest of your life. Sure, you and everyone is free to do whatever they want, but I wouldn't expect it to be free of criticism or ridicule. If anything, is because it's not really creative at all when all you can say is "Well X wouldn't do it this way," it's just writing what others did. All your work amounts to simply building replicas that will forever live in the shadow of the warhorses. I think that's kind of a sad life goal, but w/e I'm not these people. I've written works in all sorts of styles, but never 100% style copy since that's boring as hell, it'd be just an exercise since there's nothing from me in there. But I also think that Gianluca guy is a complete retard given my previous exchanges with him, so I think that he can't take criticism has less to do with anything academics have to say and rather with him just being an donkey.

Woah, woah, woah. Double standard much? You say people who write in a "modern" or w.e style are awesome and the cutting edge of musical progress and you rail against anyone who disproves this. And yet, you do the same to the classicists who do not want to write in a modern style but in a new version of an older style. Ain't that the pot calling the kettle black? Practice what you preach, brah.