Maybe a little of topic, but here´s another 50ties composer who set new standarts:

 

Nothing against the man nor his music, but I find curious the presumption that just because some musician or music has been vastly "influential" that it lends cred to that music or musician. I mean, Kraftwerk had certainly primordially "influenced" EDM, but is one to hold Kraftwerk accountable for EDM's vapidity as a musical genre? Bob Dylan might have been greatly "influential," but Bob Dylan was a total sham, little more than a cardboard cut-out with a publicist, a stylist, and a crack team of ghost-writers (among whom was Leonard Cohen). Does a succession of imitators or mis-led wannabes constitute a predecessor's incontrovertible eminence and "legacy?"

 

Surely they did help you with all those things: the ancient Greeks still help you think(17th century Newton too), so why shouldn't earlier musical greats still (and forever) help you hear?

Surely everything you hear, musically at least, is conditioned by your cultural milieu and inheritance - things sound as they do contingent upon your musical culture - geographically, temporally and materially (technology).

Everything you hear is in (your own) cultural context and that must include The Greats, however indirectly. Surely? For how did we ever get from there to here?

Anyway, specifically, a lot of Trance is very classically inspired. How would it sound as it does without that inspiration? Even plainsong sounded like it had been waiting five hundred years for Enigma and Sadeness. Trance pads, arps and choral stuff all betray classical inspiration.

 

This would be the first that I have heard any reference or insinuation that Dylan used ghost writers and hadn't penned his own words and/or music. Could you please cite reference and proof to your statement. I read somewhere today that Madonna was offering blowjobs in exchange for votes for H.Clinton. This might just fall into the same basket of hilarity without some backup on your part. Give it up or....

 

A big difference between 1 and 2:

(1)

The difference here is that in the Bach (1), we have more direction harmonically. In the functional chord progressions that seem to be going somewhere. The Bach is goal-oriented, teleological.




(2)

This track goes nowhere. It sits in the moment. It relishes the moment forever and then abruptly stops. It's sort of hypnotic.

Unfortunately most of the second like musics have the mentioned problem because of not using the harmony as intended to be used.

The biggest and most intricate restriction in the western musical culture is using the harmony. Lots of people have tried to act independently and be released of considering it in their works but no, it's not possible unless you want to play with the sounds and stupefy the listeners.

 

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Please listen to this beautiful music. I can not produce it or even a similar one in my whole life but please pay attention to the harmony. Just circulating:

 

Foster I think I can speak for some people in here, but it's getting really tired. Why you analyze music as a science? You know and I know you're getting absolutely nothing out of it. It's not like anybody cares what you think anyway, but eh, just trying to make you understand you're wasting time

Harmony as intended to be used? Just rotfl now

 

the title creates a null...

 

A big fact about the post-modernism that we live in it and most of the musics being created by sampling and looping:

With post-modernism (minimalism as a subset of it), you don't have to know anything. And everyone is equal. In this case, everyone is literally on an equal footing. Everyone can be an art lover. Everyone can be an art critic. So, post-modernism embraces the everyday, the mundane, even the kitsch, and it glorifies it (like the tracks I posted).

We do not respect the past because we have a more strong weapon on our hands and it's ... (you tell me what it is.)

 

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Man, I promise not to do it again because the experimentation world is endless and there's not any touchstone, reference or reliance point in the music that other ones being compared with it.

 

We do not respect the past because we have a more strong weapon on our hands and it's .

You are doing it again and it really is becoming boring...sputtering complete bolderdash without citation in support of a false thesis, all the while wasting valuable time talking about theories that just keep you away from the matter in hand, namely actually making music. Firstly, transpose we into I and our into my. You must speak only for yourself until you can prove your case for generalizing the world into your narrow focus. And how do you prove your big fact?

 

Bye!

 

Moroder was a lot more influential than Kraftwerk, ALL his songs are Disco from top to bottom ,he was already nr.1 in UK several times with Disco tunes before Donna Summer.
he's the real father of Disco.

as for Stockhausen, yeah he was lucky to gain access to the early synths but good luck listening to his compositions for more than 5 minutes.

 

nah, surely not? he was the signpost for the future. He was taking disco into the stratosphere. Disco is still funk and soul, with real instruments and drums. Moroder was heading somewhere else - beyond 80s synth pop and foretelling trance.

Bowie apparently brought it (I Feel Love) into Berlin studios to play to Eno and co, claiming "This is the future". Or something. Still sounds amazing.

 

Hasta la pasta.

 

If Steve Reich had a kid, and named it Steve Reich jr, and then Steve Reich Jr had a kid, that kid would be the 3rd Reich?

 

yes and he was right, Moroder's sound was indeed the future, not the many Stockhausen or Glass or Reich !

even the Kraftwerk were not futuristic apart for their hit "the robots" and the album "Man Machine".
i often read about people praising Trans Europe Express (which i love ! i own all their albums) but how exactly is it futuristic or pioneering ? Kraftwerk's sound resemble an early version of New Beat actually, sometimes Industrial, but it's very far from being proper Disco or similar ... Moroder instead is already synth-pop and Disco 100% in 1976 ! that's a whopping 40 years ago, while Kraftwerk never evolved much after the 80s, they're still touring the world playing the same songs over and over, they probably just ceased to make music at all, their last tracks Tour de France is worthless .. while Moroder is even back in action now at 70+ years, see he's a real musician.

 

Mh, Schaeffer and Henry were even earlier... early 40s and onwards

And some others..

https://en.wikipedia.org/wiki/Musique_concrète

 

Schaeffer always put me to sleep, but I understand as she was but a fairly first pioneer mearly scratching at the surface and making a pencil sketch for future artists to a take a running start from her early push. Reich enlivens and invigorates and was the future...still is.

 

Only if each generation can prove not to be jewish.