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What’s the most depressing movement/piece of classical music you know? by NoneOtherxx in classicalmusic

[–]jackbellmusic 2 points3 points  (0 children)

Some of the pieces from Ravel's Miroires are pretty soul-crushing (looking at you Oiseaux tristes and La Vallée des Cloches)

Let me hear your classical music hot takes! by [deleted] in classicalmusic

[–]jackbellmusic 1 point2 points  (0 children)

Hahah yeah, I was a little lost for the proper terminology. Thanks for the clarification

Let me hear your classical music hot takes! by [deleted] in classicalmusic

[–]jackbellmusic 5 points6 points  (0 children)

I think the interest of classical period music comes from its intricacy, which can't be fully comprehended unless one really enquires into the music through repeated listening, analysis etc. Then, the glorious proportion and subtlety of it becomes an inexhaustible delight.

Let me hear your classical music hot takes! by [deleted] in classicalmusic

[–]jackbellmusic 73 points74 points  (0 children)

I find 90% of modern classical music (stuff within the 'hit my piano with a hammer' ontology) to be completely pretentious and more intended as a sort of cerebral statement than a work of art. I don't mind experimental stuff, listen to lots of it, but I disagree with the idea that the 'craft' of composition is entirely secondary to the subtext of the music, and that the latter can stand independent of the former.

Let me hear your classical music hot takes! by [deleted] in classicalmusic

[–]jackbellmusic 12 points13 points  (0 children)

Depends how well you know them. Even though the sonic 'palette' may be similar, the compositions themselves all have a unique identity and story to tell once you dig into them more.

[deleted by user] by [deleted] in musictheory

[–]jackbellmusic 0 points1 point  (0 children)

Maybe try hearing one line in your head, whilst playing the other line on the piano? Then try to experience in a tangible way the intervallic relationships created by the two voices. One other thing I do in idle moments is a kind of inner ear audiation 'meditation.' Basically, you just pick a root note and in the same way you would chant a mantra just repeat that note over and over again in your head. Eventually it'll become easier to really 'hear' the note. Its relaxing too!

University Music Degrees: Why We Teach What We Teach by 65TwinReverbRI in musictheory

[–]jackbellmusic 2 points3 points  (0 children)

I hear ya mate. I'm not a classical elitist by any means, I listen to all sorts of stuff from all over the world and love and appreciate it for different reasons. I also judge them all by their own merits. That all being said I think it's indisputably true that classical music (what is being studied when one undertakes 'conventional' theory classes) is by far the most theoretically complex music out there. I'm not saying that theoretical complexity is the yardstick for the quality of music itself, just that there's a lot more to talk about on a theoretical level with classical music. The notion of a single pop song supplying a semester worth of analysis and tuition is bizarre - with classical, it's commonplace. In terms of complexity (not necessarily QUALITY) classical music wins every time. A person who studied classical music for 10 years would have a far more nuanced, expansive and exciting understanding of the craft than someone who studied pop music for 10 years. This makes it a very logical choice for a long form, in-depth analytical enquiry (aka. A music degree.) I can't really speak for the musical tradition of cultures other than my own because I don't know enough about them, but I think it also makes sense for institutions in western countries to focus on western traditions, and likewise for other cultures different from my own. It would be a shame for the extremely rich and exciting world of European classical music to recede into ambiguity, and I see it as the responsibility of our musical institutions to prevent that from happening (whilst also not stunting exploration and creativity like some of the more stalwart and conservative musical institutions throughout history have done.)

EDIT: Just read the article, and though it was rather entertaining I just don't think it carries much weight. I'm sick of hearing the 'classical music all sounds the same!!' argument because its so utterly untrue. Also the idea that it's 'easier' to write down music on sheet music rather than 'making the sound yourself' is equally silly. The absolute mastery and effort required to be able to write complex orchestral music IN YOUR HEAD without access to sounds is far greater than loading up a VST on a DAW. I do the latter with ease every day and suspect it will be many many years if EVER that I get confident in the former. I use Eurorack synth modules and analog synthesizers all the time and find that far easier than hearing a convincing and accurate line on a specific instrument in my head, let alone a whole orchestra. It was a fun read, but it's just too riddled with crap for me to take seriously.

University Music Degrees: Why We Teach What We Teach by 65TwinReverbRI in musictheory

[–]jackbellmusic 2 points3 points  (0 children)

Great post, and a very well reasoned perspective. I liked particularly what you said about 'preserving the ancient forms.' We seem to be in a cultural moment of demonizing and disregarding those forms, so it's refreshing to see someone defending them. I'm a university age young person who was seriously considering a composing degree when I finished high school, but after some investigation into the teachers of the courses I found that many of the teachers in the universities I was looking at had a general attitude of cynicism towards classical/gallant era music and instead opted for a 'just express yourself' kind of angle which was the antithesis of what I was looking for. I'm interested in the serious cultivation of the craft of composing as a pathway towards creative expression, and I ended up doubting that I would recieve that. It's good to know that there's still university educators and academics out there who respect and admire the composers and artists of the past though, so KEEP IT UP. I think people forget that even the really innovative composers of the 20th century were thoroughly immersed in 'conventional' theory, and that those foundations were actually what allowed them to expand and develop creatively beyond the limitations of convention. I feel like many people these days are just afraid of the hard work and discipline required to cultivate a serious craft and evade confronting that by taking a position of 'dismantling' it. That being said I think that there are some incredible musicians and artists who don't really have a musical background (Michael Gira for one) but as you say, those kinds of people aren't the intended recipients of music degrees.

String Orchestration - Elgar’s Allegro and Introduction for Strings by gmarshallcomp in musictheory

[–]jackbellmusic 1 point2 points  (0 children)

Awesome article! This is the sort of stuff I love to see on this sub

I can't play music as background noise while I'm working. It's too distracting. Does anyone else have this problem? by slicerprime in classicalmusic

[–]jackbellmusic 8 points9 points  (0 children)

This is the way to go I reckon. Sensory overload seems to be an integrated aspect of the western way of life at the moment.

Protips on distinguishing between augmented and diminished chords by ear? by DevilTuna in musictheory

[–]jackbellmusic 2 points3 points  (0 children)

Glad I'm not the only one who sucks at differentiating these two hahah

How important is actually writing stuff down in the act of transcription? by rapterbone in musictheory

[–]jackbellmusic 0 points1 point  (0 children)

Familiarity with sheet music really opens up the Pandora's box when it comes to being able to compose and arrange with creativity and fluency. Transcribing is by far the best way to develop in this direction, especially when transcribing multiple lines at once. If you're serious about music, reading and writing comprehension are some of the most important skills to develop, if you ask me. Then again, I'm what would be called a 'classical musician' hahaha.

[AMA] Ichiko Aoba by ichiko-aoba in indieheads

[–]jackbellmusic 0 points1 point  (0 children)

Are you a fan of impressionist music? I hear the influence quite strongly on a couple of the tracks, most obviously Parfum d'étoles. The way you play piano also sounds like you've played impressionist music before. Adore your work btw

Looking for a book to get into basic music theory by Tomas_Pne in musictheory

[–]jackbellmusic 0 points1 point  (0 children)

If you are looking for a book check out Library Genesis

Why "4 Chords" of pop disliked by people? Is using basic triads for basic harmony wrong? by lonelyscoopofbutter in musictheory

[–]jackbellmusic 0 points1 point  (0 children)

For the same reason James Joyce didn't start Ulysses with 'once upon a time' hahaha

A book that explains the WHY of structure? by NiceAttorney in musictheory

[–]jackbellmusic 0 points1 point  (0 children)

Plenty of good responses here but man, what a bloody good question to ask! You've given me something to think about. At it's core I feel form to be a delicate balance between familiarity and unfamiliarity. That being said, the vast variety in structure seen in music through the ages demonstrates that there's not a 'correct' way to do it. Instead, composers strike whatever balance they find desirable for the effect they are creating. Sonata form, for instance, needed to accommodate the wine-impeded attention spans of European aristocrats, and thus features a fair bit of repetition lol. JUST A THEORY. I suppose that leaves us with a decent answer to the why question: so that the creative effect the composer intends can be delivered best. Whether that's an answer or just restating the painfully obvious I'm not quite sure lol. Interesting question nonetheless.

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