Repping the north, nice one! Amount of times I’ve made up some rule then ballsed it up and had to change what I wrote - fair play for just pressing on, good distinction between pre-composition and composition
I'm currently in the process of writing a tri-thematic piano sonata with turbulence as a theme. I had a thought about using the order 3 magic hexagon to determine the harmonisation in a fugue, but I wasn't quite sure how I would do it. Thanks for this upload.
For each order n=4k, (k natural number), will there be a naturally associated musical composition? If the above question is true, will there be infinite compositions associated from these infinite generalizations of Albrecht Durer's magic square?
Hey Allanah, I've really been enjoying your videos. However, I just wanted to say that, as a result of watching your video, I went and listened to a few things by Peter Maxwell Davies, and... I found it to be boring beyond words. I generally love 20th and 21st century "serious" music, but it's gotta have something more -- I love Messiaen (especially the period from 1960 to 1974) and Boulez, Ligeti, Xenakis, and my favourite American composer, Charles Wuorinen. Each of these are considered "avant-garde" in their own ways, but each of them brings something exciting and compelling to their music. I couldn't say that about the Peter Maxwell Davies music I listened to. I guess that the clever "pre-composition" techniques do not guarantee compelling final results. Go ahead, tell me why I'm wrong and suggest something really compelling from Peter Maxwell Davies.
Thanks very much for your comment, it’s a really good question and opens up a lot for discussion. I’ve thrown some thoughts together: you’re fine to not like a composer’s music, and you’re right that “clever precomposition doesn’t determine compelling results” (but I wouldn’t all the precomposition “clever” in that instance), but I’d say that’s down to the composer themselves and not the precomposition because every composer has precomposition moments. No one goes into writing something in a meditative state without any form of thought behind it (well maybe there’s someone out there who claims to do this, but not the composers you’ve mentioned). All this precomposition is is a means of generating material, just like Western classical scales and chords or the twelve bar blues chord sequence (incidentally Messiaen came up with his own scales and rules for chords, how’s that for clever pre composition). Oh and Xenakis did sooo much pre-composition: have you seen what he does with cubes? But my point is, the same composer could use the same precompostional techniques and come up with something different. Blame it on the composer, not the precomposition. But in essence you’re right: precomposition doesn’t guarantee compelling results, it’s the actual process of composing that determines all that.
@@AlannahMarie Yes, I'm very well aware of Messiaen's pre-composition practices. Lots of different musicians (including me) make use of the modes of limited transposition. However, you may have seen Wai-Ling Cheong's papers on Messiaen's chord tables -- he built tables of chords, and then often just used them verbatim in his compositions (a very clear example is the violins in the Introduction of the Sept Haikai) -- I think that this is the main reason why Boulez accused him of being more of a "juxtaposer" than a "composer." However, even at its most abstract, Messiaen's music grabs you (far more than Boulez's music, it has to be said). Peter Maxwell Davies's music just sounded to me like someone who was putting down the notes without paying much to their impact on the listener. Another composer whose music grabs me is Wuorinen. He had a very systematic approach, being one of the more militant serialists, but his music always compels -- listen to his third piano concerto to see what I mean. I just don't believe that we can separate the person from the composition -- every composer, if they are being honest with themselves, will compose themselves into their pieces regardless of their techniques and procedures, and some people appeal to certain other people, and some don't. That's an unavoidable side-effect of humanity.
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Repping the north, nice one! Amount of times I’ve made up some rule then ballsed it up and had to change what I wrote - fair play for just pressing on, good distinction between pre-composition and composition
look into using digital root to create music :)
Very interesting! what software do you use to compose?
Thank you. And the software is Sibelius.
I'm currently in the process of writing a tri-thematic piano sonata with turbulence as a theme. I had a thought about using the order 3 magic hexagon to determine the harmonisation in a fugue, but I wasn't quite sure how I would do it. Thanks for this upload.
That sounds really interesting, best of luck with it :)
For each order n=4k, (k natural number), will there be a naturally associated musical composition? If the above question is true, will there be infinite compositions associated from these infinite generalizations of Albrecht Durer's magic square?
Esto es tan hermoso!!!!!! Gracias!!
👍🏽 waiting for the next video! :)
Hey, Alannah, thanks for the video. If you like long stems, there's the option to change them all at once at the "Engraving Rules" menu =)
Thanks!
Hey Allanah, I've really been enjoying your videos. However, I just wanted to say that, as a result of watching your video, I went and listened to a few things by Peter Maxwell Davies, and... I found it to be boring beyond words. I generally love 20th and 21st century "serious" music, but it's gotta have something more -- I love Messiaen (especially the period from 1960 to 1974) and Boulez, Ligeti, Xenakis, and my favourite American composer, Charles Wuorinen. Each of these are considered "avant-garde" in their own ways, but each of them brings something exciting and compelling to their music. I couldn't say that about the Peter Maxwell Davies music I listened to. I guess that the clever "pre-composition" techniques do not guarantee compelling final results.
Go ahead, tell me why I'm wrong and suggest something really compelling from Peter Maxwell Davies.
Thanks very much for your comment, it’s a really good question and opens up a lot for discussion. I’ve thrown some thoughts together: you’re fine to not like a composer’s music, and you’re right that “clever precomposition doesn’t determine compelling results” (but I wouldn’t all the precomposition “clever” in that instance), but I’d say that’s down to the composer themselves and not the precomposition because every composer has precomposition moments. No one goes into writing something in a meditative state without any form of thought behind it (well maybe there’s someone out there who claims to do this, but not the composers you’ve mentioned). All this precomposition is is a means of generating material, just like Western classical scales and chords or the twelve bar blues chord sequence (incidentally Messiaen came up with his own scales and rules for chords, how’s that for clever pre composition). Oh and Xenakis did sooo much pre-composition: have you seen what he does with cubes? But my point is, the same composer could use the same precompostional techniques and come up with something different. Blame it on the composer, not the precomposition. But in essence you’re right: precomposition doesn’t guarantee compelling results, it’s the actual process of composing that determines all that.
@@AlannahMarie Yes, I'm very well aware of Messiaen's pre-composition practices. Lots of different musicians (including me) make use of the modes of limited transposition. However, you may have seen Wai-Ling Cheong's papers on Messiaen's chord tables -- he built tables of chords, and then often just used them verbatim in his compositions (a very clear example is the violins in the Introduction of the Sept Haikai) -- I think that this is the main reason why Boulez accused him of being more of a "juxtaposer" than a "composer." However, even at its most abstract, Messiaen's music grabs you (far more than Boulez's music, it has to be said). Peter Maxwell Davies's music just sounded to me like someone who was putting down the notes without paying much to their impact on the listener. Another composer whose music grabs me is Wuorinen. He had a very systematic approach, being one of the more militant serialists, but his music always compels -- listen to his third piano concerto to see what I mean. I just don't believe that we can separate the person from the composition -- every composer, if they are being honest with themselves, will compose themselves into their pieces regardless of their techniques and procedures, and some people appeal to certain other people, and some don't. That's an unavoidable side-effect of humanity.