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The first one sounds to me like I 'composed' it instead of - like all of them - made it up as I went along from musical material seemingly and apparently unconsciously known but not consciously perceived before playing because "Twinkle Twinkle Little Star" begins to make its appearance about half-way through.

Wow! I really like this. Many parts remind me of some of my favorite music for the RPG "Chrono Trigger" - like the beginning piano ostinato and high strings background sound like an overworld theme. It soon gets quite a bit darker which could be the music for a dungeon. That transitions into what sounds like a brief battle music example. Then back to the somewhat more calm overworld. Overall it's quite an enjoyable medley! Thanks for sharing!

A piece I made with the torment of questionable moments and anguish of unanswered questions in my mind.

Interesting piece. How is it notated? Thanks for sharing

I don't get it!? What is your objective here?

Totally agree about avoiding Romantic cullbrap when naming; words like 'fate', 'destiny', 'tragic' and the like sound like some lame straight-to-DVD anime series. I hate overtly descriptive titles. If you can describe something adiquately in words, what's the point of writing music about it? Ironic, ambigous or pun titles appeal to me, as do lines of poetry (particularly if you can use ...three dots... which makes it impossible for anyone saying the title to do so correctly), and phrases in German and Scandinavian languages (Italian and French sound to close to the prissy Romanticism slated above). Dig the postmodernism, people. In fact I often don't even name a piece until the dots are finished.

I've always wondered what's so 'stupid' about writing meaningful music. On the contrary, if all what flows from our minds is a collection of meaningless sounds arbitrarily put together (and quite often under pretentious, esotherical titles), we should be sorry. Anyway, in my view naming a piece doesn't convey any ideal, Romantic or whatsoever (heh, we all know Renacentists, Baroquists and Modernists did never, ever name a piece :P ). It's just a way to identify a particular piece from any other, just like a child is named to tell him/her from any other human being. When I name a piece, I tend to be quite generic (i.e. Piano Sonata N° 3, String Serenade, Symphony N° 1) - but even then a piece might be trying to convey a message, story or idea of its own, and quite often I'm not afraid of openly stating it (i.e. Adriana Suite, Emma Overture, Northanger Sonata). I don't think that doing either is by any means a symptom of stupidity.

If it doesn´t, why bother doing it? There´s a big difference between true humility and admiration and cockyness diguised as it.