Legion is fucking awesome.He's Xavier's son, too. That whole X-Men series is about shadow work. It's powerful. And Uncanny,
Forty Six & 2

 

When I was a boy I had to walk 20 miles to school, be it in glorious sunshine, roiling rain and rolling thunder, hail or blinding snow. Before I left on my strenuous journey and hours before sunrise, I, with well calloused hands milked the cows, fed the chickens and mucked out our big red barn. Way back then Foster was just learning his now advanced trolling technique as obscurantist, enlightened fool and non pedantic numbskull by studying the sad life of alcoholic clowns. He has finally reached the pinnacle of infamy in these hallowed halls as the perfect foil of true learning, logic, integrity and literary scholarship.

Love it or not in a way we are all responsible for his tirade by feeding his appetite.

 

I understand and I think that, from your point of view, you are right. But as I said, the academy (universities, postgraduate courses) is the "right place" (It shouldn't be like this but...) for this discourse of ranking (high-brow X low-brow art), prejudice and, why not say, ignorance (in the sense of making a point of ignoring knowledge from the other — this is the typical avant garde attitude of defying established conventions through demotion by ranking.

Have you ever imagined if people who practice popular music (the vast majority) engaged in this same practice to make avant garde lifestyle a hell on earth?

—Why did they put the avant-garde artist to exhibit his/her work inside the cage?
—Because another variation of "internal savagery" will be shown!

It's a good thing no one does this as current practice, because living like this would be complicated, to say the least.

If F[tr]O[ll]STER came here and said: —guys, I'm obsessed with the new complexity (for example), see how incredible this music is for this, that, etc., does anyone have interest in the topic for a discussion? that's an attitude. But using his pedantic and pretentious speech in a popular music forum (regardless of the genre and style) is leaving his playpen to invade someone else's space, in a provocative and pejorative way. I find this attitude childish, disrespectful, quite inconvenient and uncommitted to other people conditions. This, for me, is much sadder than any valuation attributed to music as a metalanguage (The saddest fact about music), as it shows that even an individual endowed with knowledge and erudition can feel entitled to sublimate his feelings of social inadequacy by acting like a twat.

 

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Sinerely, I'm not quite sure I undestand the thrust of your post. Is it I who am being provocative and acting like an idiot or someone else? The wording to me is kind of vague and a bit misty. If it's me it's just like any given Tuesday.

 

BaSsDuuuuuuuuDe, thank you for sharing an example that contradicts the nonsense said previously and demonstrates a dimension of understanding that goes way beyond the choice of musical notes (notice that there is a whole network of metaphorical mappings and musical gestures in it—I try to learn whenever I can!). I'm a huge admirer of Russell Garcia's work... a golden age giant, for sure!

 

In no way Lois! I just said that I agree with your statement (and liked it even more for the irony contained in it). No criticism of you. I just added a comment to it, 'cos I like to learn and discuss things in a constructive environment. If what I wrote caused some kind of misunderstanding, I apologize, as english is not my native language.

 

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Unfortunately, there is no successful way to use notes at the moment. Look through all the books or training videos on YouTube, you can't find even a half-successful method.

Certainly, if such a method existed before me, many people would have known about it and would have benefited from it in their works. But at the moment, there is no such educational method and even the biggest music centers could not discover such a successful one and efforts should be made to create at least one.

 

this whole back and forth, reminds me of why I gave up on notes and started using chords instead.

 

@SineWave

 

Unfortunately, you are totally correct.

You have just described the influx of mediocre musicians like Kanye who admits he cannot play any instrument well, and I'll use your strawman Bullshit number out of a hat - 99.99% of all EDM producers and wanna-be musicians who do not play any instrument except their dick by using a computer, because they are an epic fail playing a real instrument. You can tell, using your strawman logic that 99.99% of all EDM music is completely musically devoid of any light and shade.
Look that one up on YouTube and find someone who teaches you what musical light and shade is in performance of notes and music, because it is tied in with notes, the usage of them and how to play them, execute them and understand why they were created in the first place. You have severe gaps in your understanding FOSTER.

You are welcome.
When people only look on YouTube, a haven for people who only wish to make money or self-promotion, they never understand until a decade or more later why nobody showed them some of the more important facets of music. Some things cannot be learned when a YouTuber bypasses the very roots of whatever they are trying to show people.

A lot of people did not know Russell Garcia was one of the most used re-orchestrators in film, or that he gave lessons to John Williams and Quincy Jones. He was ghost writer on more films than many people knew. If you listen to how his string and orchestral writing goes, you can hear similar techniques in many other films from the same period, as a ghost-writer, where the main music credit was given to someone else. In those days, they paid exceptional money with a NDA. His only main competitors for ghost-writing and scores then were Mancini and Riddle. There were many others of course, also well-known, but he with the other two were often first calls when something did not quite work as intended to convey the moods with notes and harmony.

 

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One of the biggest myths in the world of music is that working with notes can be understood by using musical instruments. This is nothing but a myth. Understanding the mechanism of using notes does not have much to do with musical instruments. Musical instruments are just a means of performing music.

Most instrumentalists (a very, very large number) do not have a proper understanding of notes.

 

Explain it to everyone then using no Wikipedia and no YouTube, just acceptable academic facts. By saying this, you are discrediting Bach, Mozart, Tchaikovsky, Chopin, Hendrix, Coltrane, Parker, and every composer and musician in the history books, and who is on here and in existence since the notating of music began. There were no computers in Bach's time so this is an epic fail FOSTER.

Back it up with FACTS or stop this inane tirade full of falsehoods.

 

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i was surprised to see how many people here have english as the second language. i think native english speakers are a minority in audiosex

 

what about birds? are they good musicians? do they know their notes? or the vast majority of them dont know either?

 

Hey come on now, Legion was arguably way cooler than this twat Foster..

 

These thread topics are like MadLibs for pissed off frustrated unsuccessful musicians. The same thing over and over, just missing a few words here and there. You throw in a few words into the blanks like Chords, Timbre, Notes, and next thing you know you have a 10 page thread and another banned trolling account. Maybe it was even funny the first few tries.

 

I don't even get it the first time or is this some next level of crazy?

 

Let's start a pool and guess the next name.

I love you Foster911. We're just teasing. We have to bring joy to each other. And self deprecate along the way. That's why we have Conan.

 

These people you mentioned started their childhood with musical instruments. The era when they only had to play the pieces of other composers.

But if they were to continue this process until the end, they would not be able to make even one piece.

These people are more famous for being composers and the works they wrote than for being instrumentalists. The main goal of these people was not to be a successful instrumentalist but to be a successful composer. Being a successful instrumentalist was next.

How did these people learn music? Is it by playing an instrument or by thinking and creating new ideas? Yes, definitely in childhood by playing musical instruments, but later by thinking.

First, these composers had very good teachers who taught them both composition and how to play musical instruments, but in a part of their lives, these people distanced themselves from this repetitive process of aimlessly playing and started thinking about the structure of music and how it works.

If they didn't go through such a process, they would be like many others who end up only carrying the name of the instrumentalist.

Why didn't they focus on theory and not many theoretical works of these people are available?, because they were the theory themselves and didn't see the need to spend their time explaining their thoughts to others. They spent that time creating different ideas and fascinating other people with their works and making them eager to discover how these things are done.

These people were never good teachers. Rather, they were good composers because they didn't have the mood to explain their thoughts to others and spent that time only improving their artistic background. Of course, in some way, they may be labeled as selfish, but in the end, this was a decision they made themselves.

 

J. S. Bach was against composing with the use of instruments. He forbade his students from using the piano while composing. Instead, they were obliged to play their compositions perfectly afterwards. He believed it was important for composers to develop a strong foundation in music theory and composition that transcended specific instruments, enabling them to compose in their minds.
Overreliance on instruments can lead to a dependence on their technical capabilities. Default routines in playing a specific instrument can mechanically lead us to prefer using them. Instruments are inherently concrete, producing specific sounds that might not always capture the composer's abstract musical ideas. Difficulty in capturing ideas can ensue, especially if one is not proficient in playing that instrument.
The immediate gratification of hearing sounds generated by the instrument can make us satisfied too early, masking underlying weaknesses in the composition itself.