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From the other Awards thread:

too optimistic. what the average person knows about classical music: 1. it involves violins and powdered wigs and is very aristocratic 2. some classical composers include beethoven, writer of "für elise"; mozart, writer of "eine kleine nachtmusik"; brahms, writer of the lullaby; handel, writer of the hallelujah chorus; bach, writer of an air about weird fetish underwear. all of these people lived between 300 and 600 years ago. 3. classical music stopped being written around 1900 when it was replaced by big bands and swing. the exception is movie music, all of which is written by john williams, danny elfman and hans zimmer 4. similar to classical music is opera, which is about fat women wearing viking helmets and plates on their breasts, and ballet, which is about thin women wearing leotards and puffy tutus. paradoxically, anyone who likes these things is probably gay 5. liking classical music is a clear sign of being a cat-stroking bond villain or possibly a nazi. normal people only listen to pop and r&b (if female) or rock and hip-hop (if male) replace with geographically-appropriate substitutes where desired

Since there is a large ammount of composers or wanna-be composers I am wondering how really you want to make a resounding impact as a composer throughout 21st Century. I personally am considered as an established composer in my Slovenia. Maybe sounds bold, but I believe I might be in top 10 at the moment. Still, I am interested to have a bigger international success. I am lucky to enjoy some of it, especially with my chamber opus for wind instruments - my compositions such as Yearning for flute quartet, Trio for flute, clarinet and bassoon, The Bird Tango for piccolos and piano have had a solid reputation abroad. In my country, I am experiencing a new commission boom - I'll be busy throught 2013. A new composition for choir, a new composition for wind quintet, three new short pieces for different winds with piano, a new composition for flute and cello... Please don't consider me a loudmouth or over self-esteemed. :) I am just telling the facts about my current composing career. Still, most of compositions are actually written without getting paid, but that's mostly OK, as long as performers do not expect me to pay them for their performances of my music. :) My ambitions for the future: to compose the largest number of symphonies in Slovenia. The record is, of course, a magic number of nine, created by Blaz Arnic. Still, I only have two and a half completed so far... :) And my ambition is also to have as many fans of my music as it is actually possible, since I am not a young pop music upstart (like Justin Bieber) and I am actually an "invisible" composer of so much hated modern classical music... Thanks for your replies, looking forward to read them! :shifty:

Yes, when you learn basic tonal harmony and write hundreds of lessons, you probably find classical, even romantic music way too predictable. That's why I enjoy modern music, because it brings surprises everywhere. I am such type of listener. Sometimes I do want to hear some "good old" music for my own pleasure - I rarely go to the concert due to the specific performer. But I prefer modern music which is "user-friendly" and does not feature extravagantly useless sounds.

For me, fame it's not necessary, neither I pursue this. My ambitions are most linked to my own capacity than anything else. I think the only exception is the fact I wanna earn a lot of money to do and have lot of things that are really expensive, as sport cars, habanos, premium wines, Hans Zimmer' studio... hahaha. Now, serious, I do wanna earn a respectable money with this - not needing to work as anything else, to focus 100% of my labor efforts in music - and enjoy a good life. And do some trips around the world. I plan to speak fluently 8 or 9 languages until 2018 (the year I hope finish my doctorate); currently I have only proficiency in 2, and understand more 2, but I'm slowly forgetting these because I'm not practicing them (to train again is a thing it's in my new year goals list). I'll start another 2 languages in 2013 (latest at early-2014). Finish my music books and thesis is a good goal too. Also, I wanna do a study on sacred music, maybe a graduate - i'm currently thinking in get back to study latin at uni to approach this, or even do self-study. For the money, I want someday to work on Hollywood - the harder part of my dream, I know. But who knows what future reserves?

Excuse me, are spams allowed on this site?

I am not sure, how many keyboards and fonts around the world can have "Č" used without showing some funny signs. :) Since I see there is no problem on this site, I will from now on use Č in my name. My name "Črt" is an old Slavic name for forest ghosts, unfortunatelly, evil. :D

Fame is not necessary in my honest opinion.It oftentimes works as a distraction.I wonder how many of us have heard the name of Professor Higgs before the recent outburst in the media about the higgs boson which is still not confirmed to exist.I myself didn't. The point is public almost totally depends on common media today to know about something.As per what media tells them most of the people only know that much.It destroys their will to self learn.Academic education also contribute to this fact.And it is certainly not in the profit book of media to publicize music composers. Another fact that classical music didn't have a most extraordinary composer in the past few deacades who is on the level of Beethoven,Bach,Mozart,Chopin and handful of other composers.So even people who know about the famed classical composers they think that classical music is dead by now.Not all of them but some of them think in this way.Why listen to atonal music when you have mozart around?

Who the hanggliding gently caress is Philip Glass?

I would agree. This would possibly explain why said people tend to be absolute morons. Taste is subjective. The only objective criteria you could judge composers by would be technical ability, in which case there's no use comparing an amateur like Hoffman to Beethoven. When you start comparing composers of more or less, equal compositional ability to each other such as Beethoven and Mozart, you aren't comparing them objectively; you're comparing them within the framework of your own personal taste.

Sorry, I can't resist: Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Knock knock. Who's there? Philip Glass.

-1 from all of your guesses. Philip Glass doesn't count.