Why is there so little MELODY in New Classical Music? || Q&A No.3

A new QandA on a range of composing-related topics.

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0:13 How does generative or algorhythmic composition fit into today's music landscape? (ref. Tristan Perich)

2:29 When writing non-functional or atonal harmonies, what considerations affect your note choices? Do you work by ear or do you have a system

5:47 Why is there so little melody in contemporary classical music?

8:11 How can I leave my ego out of compositions?

9:53 What is your favourite music genre/album that is not classical?

12:03 How does the influence of modern life affect your composition?

Reference
Tristan Perich
David Lang
Anais Mitchell: NPR Music Tiny Desk Concert
Debussy: The Girl with the Flaxen Hair:
Ligeti: Etude No.2

[neildawson]

"how do you stop your ego getting in the way of one's music?" ...writing music as your only means of income soon sorts that out.

[JoshTurnerGuitar]

Wow David, thanks so much for the shout out! I need to dig into some of your work as well.

[insight]

My grandmother once told me that the problem she had with "plinky plonk" music (as she called it) was that "there's almost always no tune, something to whistle." Great video!

[MarkFitchett]

For some reason many young composers think it's not hip to write a melody. It's actually really hard to come up with a great one.

[thexalon]

One reason some modern composition has little by way of melody: When I was studying composing in conservatory, my professors were constantly trying to push me to write music that was less melodic. I unlearned that again after graduation, but my impression was that less melodic music tended to win the prizes and the accolades and thus what the "market" wanted.

That was true even among some of the relatively hip local contemporary classical music ensembles.

[maryseeker]

Keep on being nerdy! (Intellectual, interesting, scientific, informative).

[hryhthbrfthrh]

as somebody who got into "nerdy" music just a few years ago, I immensely respect your videos. Great musical knowledge and interesting topics explained in a friendly, non-condescending way is the way to go. power to the nerds!

[rontomkins]

In my experience, the best way to get the ego out of the music, is to keep making music so much, that it no longer becomes something you think too much about. You just do it. This applies to everything, by the way.

[ticfortea]

I am beyond thrilled to discover that Maestro Bruce is a funk-head!

I've always had a tough time trying to reconcile, or figure out the connections between, my love for classical and funky music, because they are just so different. I wrote a funk _fugue_ at one point, so help me. I started to accept that maybe I was just irreconcilably weird, but then I discovered Vulfpeck, and it was like finding kindred spirits in musical outlook I thought I was totally alone in entertaining.

And now one of the music educators and contemporary composers I have the greatest respect for drops the ball, too. The funky, funky ball. Man, I am having the greatest day. Thanks David! Looking forward to new videos on any topic of your choosing.

[seaseven]

My problem with many Youtubers is that they hold back information, and treat people like children. Bring on the intelligence (it's 2018 and moving fast) It's better to see a video where you understand nothing, than understanding everything. That way you know you've got work to do and have specific things to research until you understand the entire video dialogue.

[instinctbrosgaming]

The introduction to Igor Stravinsky's Rite of Spring has a pretty interesting trick for its atonality. What happens is that the first part of the first bar of the opening bassoon solo lands on an A with a fermata marking, in which can subliminally imply that we're in A Minor. After the second try, it's interrupted by an F Horn playing a G# (G# in the F Horn is the same as a C# on an instrument in C). This creates a rather dissonant minor 6th interval. The bassoon continues its solo and the F Horn rises to an A (D for instrument in C). When the bassoon tries to land on A again, the F Horn drops once more (on the exact same beat, mind you) to that G#. That A doesn't feel like a resolution for the rest of the intro (except for some very small amounts of relief that are mostly cut short due to underlying tones that play against that A). Keeping this in mind, atonality can be accomplished through cleverly disrupting resolution.

[YT]

yah, I agree nerdier = more interresting.. go with the metrics and let your inner geek run wild!

seriously: I enjoy your videos, there's always new stuff to discover and stimulating thoughts toponder. (:

[davidmayhew]

I'm glad you mentioned early Joni Mitchell. I think her melodic style is very unique and her guitar writing beautiful. I like her music from different periods too.

[ececec]

I really love music so much. I cried seeing this video. Thanks for reminding me of what's exciting, and sharing your thoughts with us in such a warm, intelligent way!

[mumiemonstret]

I'm grateful that Beethoven and Brahms weren't as concerned with "intellectual integrity" as contemporary composers are... (7:00)

[derycktrahair]

Some interesting ideas, especially regarding EGO. Being too nervous while playing a concert is a distraction. It makes you ask "If I'm scared of making mistakes, who am I trying to impress? Do they really care? What am I doing here ? (it's certainly NOT for the MONEY)." Why we play?...because it feels good. Don't worry, if they don't like you they won't book you & you won't have to do it again.

[Gnurklesquimp]

Adhering to arbitrary rules/patterns when writing non-functional stuff is one of my favorite things to do when out of ideas. A lot of the time, it sounds organized but bad, but there's very often little sections, rearrangements and additions/ommisions that get me going to write more freely.

[rineric]

I found when I impatiently wrote some pre-classical music that I naturally went to by nature that I want to use chords and interesting phrases of singing or singing-like instrumentalism and I listen to contemporary classical music and its just sequences of effects, never a melody being rigorously explored. I find as a happy amateur that the act of writing that other kind of classical music is like doing the rhythm guitar part of a pop song out in front without melody. You should be equally good at both. Classical needs melody.

[lettersquash]

Absolutely fascinating. I'm almost completely non-nerd in my approach to music (I write stuff for guitar and piano), but the nerdy stuff about it makes sense to me at some deeper level. I was gratified to see that David Lang quote about not wanting his emotional state being shifted all the time - that's why I struggle with Beethoven and a lot of romantic music. Give me a Bach sarabande any day...or a fugue if I'm in the mood. I love folk and fingerpicking too.

[paxwallacejazz]

I've always felt that regardless of the virtical environment melodicism can inhabit that place. Also that melody is an inspired thing that can in the moment at least transcend all. Maybe it's an improvisers reality. I like the idea of broad melodies in really diabolical scientificish environments.