theshroud13

Throw me into the mix of contestants.

That's disputable. There's really nothing you can do beyond approximating what someone's IQ would be without actually testing them - and of course depending on the day the possible fluxuation can be massive.

IQ is not a particularly comprehensive test of intelligence, and I personally believe that the test as a whole is silly. Genius ought to be a title of accomplishment rather than 'ability'.

As a singer myself, I also have to do a lot of memorizing. I'm REALLY slow at it though. Memorizing melody is no problem, but I struggle memorizing words.

First a notational suggestion - in the parts marked freely with time signatures ommited - maybe omit the bar lines as well. If I were reading a score like that, I would be even more inclined to take my liberty with the music in that area. Musically, it's quite exciting. I'm not often fond of purely solo pieces, but this one has some interesting stuff going for it. There are a couple of places where the starty-stoppy nature of the piece distracts me a bit, particularly at 37 in the fast half. Perhaps it will feel more deliberate when truly espressivo as opposed to MIDI-fied, but it still doesn't quite meld with the rest of the piece IMO. Then at 53 the descending forth motive comes a bit out of right field for me. Other than that, I found it quite an engaging listen, good work!

Perhaps if fame is the sole goal, the composer will not achieve it. But I think it's very naive to think that fame-seekers will not become famous. Assuming there is talent - and there likely is as the industry is overloaded with it - the desire to find fame is absolutely essential in achieving it. As has been said by those before me, networking is essential. Of course, make sure that you actually use your network as opposed to just setting it up. It doesn't matter how many people know you're a composer if they've never heard a note you've penned. On the matter of being in the world's collective memory - you're going to need a lot of luck and work on that one. Even the most successful composers of our day aren't in the world's collective memory outside of the musical community; it'll take a lot of work to get yourself established even in that category. Also - (sorry, so many dashes) point of advice. Wait until you're already established yourself a little bit to start writing symphonies. You'll be able to get your music performed more often and in more places if you write for smaller ensembles. Look at Eric Whitacre's success in writing band and choral repertoire.

I'm not particularly fond of atonal music, but there is a lot of more modern music that strikes my fancy. Stravinsky, and Shostakovich come to mind immediately and most strongly. I have to agree with Nick's shunning of Mahler. Although I will attest that I usually enjoy his bombastic moments. However, he's much too slow, and often painfully cheesy. I disagree with a lot of his other comments, but I do feel very confused with the frequent deification of Mahler.

This would be absolutely nice to hear live. Should you get a recording, make sure to post it up! A neat poem too, reminds me of a more serious version of a text I made some time ago. I think you did a nice job setting it, and as has been mentioned before, the sounds as a whole are sweeeet.

My wrist cracks almost every time I move it. Not a lot can be done about it that I'm aware of.

I love Brahms, although I prefer his smaller scale works as well (his requiem being an exception). His art songs are stellar. His symphonies are wonderful as well, but often find myself struggling to get through some of the slower movements due to the scale of it all. Wonderful music though, I love his harmonic language.

I'm not particularly fond of his music outside of the operas and occasional stuff outside. Perhaps he would have tickled me more if he were his talent in another time period. The aesthetic of the classical period just doesn't mesh with me all that well.

Yes, yes they are. There's one of those bands that slipped through the cracks.

I would dare say that I listen to the 'alternative' genres far more than I do classical. Of these I rather enjoy . . . -Metal - Various styles, but I generally draw the heavyness line a little bit before Meshuggah. I like the more melodic metal ala an Opeth, Lamb of God, or Metallica. Black Sabbath, Megadeth, and Pantera are some other favourites. -"Prog" - Robert Fripp, particularly as a member of King Crimson, is a personal favourite. Dream Theater is similarly awesome. Brian Eno has his moments. -Pop - I'm especially partial to the 80's brand of it. Prince is a personal hero, Michael Jackson would be if he could keep his hands to himself. David Bowie, absolute yes. Recently Gnarls Barkley, The Gorillaz, and select singles have caught my attention. Disco is also fun to listen to. -Heavier Rock - Once it stops sounding like country, I start getting interested. Led Zeppelin comes to mind along with Guns 'n' Roses. -Electronica - I don't listen to the genre that much, but I can enjoy it a great deal. The Orb's dancier songs, and a lot of the Prodigy's material hit the spot for me. Aphex Twin can be fun too. -Folk - A very rare indulgence, and I generally only listen when it's mixed with some other genre. Van Morrison is a favourite. -Video Game Music - Not a genre, but probably the category of music I listen to more often than not. Sakuraba, Uematsu, and Mitsuda have had a large part in sculpting my musical style. -Jazz - I don't listen often, but when I do, I really enjoy myself. I need to check out more stuff. -Modern Rock - Not a lot from this category that I like. Mostly the retro bands like The Hives and the White Stripes grab my attention. The Red Hot Chilli Peppers are often sweet as well, Wolfmother is a pretty neat up and coming group, Modest Mouse and Franz Ferdinand occasionally hit the spot for me too. That's the short list of it all. There's more stuff that I listen to that I wouldn't know how to classify or just can't think of right now.

Some of us also simply disagree.

Any instrument really, but piano above all because of its usefulness.