This was interesting - Keep in mind there is a massive difference between PhD's/DMA's that are performance oriented, and PhD's that are purely theoretical. While both require a near equivocal amount of research, only one degree, the performance requires an extremely high standard of performance to get the degree. You'll find these people who based their higher education on performance are more open to differing genres, styles, levels and often are open to change.
Those you speak of are more often than not, musicologists, ethnomusicologists and theorists. The music they write you'd be surprised. Sometimes it's actually good. But your observation is accurate for many who never bothered to hone their performing skills.

 

Yes, exactly. When I mentioned the incident I witnessed, it involved a musicologist focused on compositional analysis, a composer of new music (both professors), and three students who were the type of "-I strictly follow my composition professor's recommendations." People in the performance field tend to be more open-minded; when invited to popular music events, they happily participate (because they get paid) and do so with ease, as many started out playing popular music.

As for new music, I prefer the "new elders" like John Tavener, John Adams, Thomas Adès, Arvo Pärt, Steve Reich, Hildur Guðnadóttir, but I listen to them with some reservation. The music my colleagues composed often relied heavily on graphic notation, proportional notation, improvisation, repetition modules—essentially, a lot of experimentalism. Some, the smarter ones, incorporated elements of popular music into their compositions, but the vast majority leaned toward a sort of demented, isolationist hermeticism. And worse still, while they claimed not to care whether people understood the music they created, they would get all huffy and furious when audiences got up and left in the middle of the performance of their musical compositions!

 

Oh, that's interesting... do they musically fart in a performative way to deconstruct the boundries of the self-imposed barriers that the social constructs create at the intersectionalities of the individual co-habited spaces?

 

Last edited: Nov 26, 2024 at 9:17 PM

I'm a professional musician because...I'm committed to the using ALL the notes, have a legit copy of FL Studio and made $2.80 from a song that was played in rotation for about a week on Norwegian radio about 30 years ago!

 

You gonna end posting audio memes on AS anyway,
so the sooner you can become a "Professional" and get over the unviability of all it, the better..

 

2 years.

it's not a problem, it's an excuse,
learning should be a never-ending experience, if you talk about negative effects on human psyche, then your "learning" mindset is wrong

again, "learning", as a definition of obtaining knowledge, is a continuous process for a lifetime, and obviously you gotta continuously use that "hands on" (else such "learning" would be just a waste of time) to gain actual experience, resulting in never-ending improvements

 

A couple lifetimes.
Dream on for the next one.

 

Staropramen maxxing

Foster, this is bloody symphony, enjoy brother!