As usual, Samuel Andreyev provides deep insight into music and the aesthetics of modern composition. I often waver between the idea of popular and avante garde and have yet to come to a peaceful resolution of the two tendencies. I have no hope of making a living as a composer nor do I expect to. I have other sources of income as, I believe, Charles Ives did. I would like to be as good as I can be and Samuel provides good guidance on that.
I agree, if I can write a few good pieces without having to worry about profiting from them, I'll be happy. I got my engineering degrees to make money...
Having given up on my dream of making a living from music, the popular vs. avant-garde dilemma has, for me, been supplanted with the breadth vs. depth dilemma. If I'm finally free from all economic obligation to write in any particular style, why not venture outside the music of my immediate geographical and historical boundaries? I finally have nothing to lose.
32:03 Regarding counterpoint... I think the music of Schoenberg and Berg actually help me notice the counterpoint of Beethoven, Brahms, and Schumann, now obvious to my ears! (Not Bach tho, his fugue is still too arid for romantic me)
Concerning "the difficult task of defining the beautiful": Umberto Eco wrote a book called "Storia della bellezza" ("History of beauty"), which does not attempt to give a definition, but a quite thorough analysis. He later also published a companion "Storia della brutezza" ("History of ugliness").
23:21 not coming from classical music this reminds me of harsh noise wall. hnw is not about movement but almost the negation of movement rather. thats not to say that no movement takes place in hnw, a lot of the time it does. but hnw is not a corporeal experience, it is a spiritual one and the most spiritual at that. at least that is how i hear it. sometimes hnw is more a of an anti-art thing ('noise-not-music'). but still i find some of those 'pieces' are incredibly moving and lyrical. i would be really interested in what samuel thinks about harsh noise wall and noise in general.
Asking if you can make a living as a composer is a silly question asked by people who probably don't have a degree in music. I got a doctorate in classical guitar 2 years ago. I'm having trouble even finding online students. I'm considering teaching elementary school (not music!)just because I need a job eventually. I started composing a year ago just as a hobby, and now I write stuff for chamber groups that include guitar. I'm trying to fill the gaps in the classical guitar repertoire, I'm planning using a pen name. This gives me motivation to keep composing. I know absolutely that I'll never make money off composing that's like saying I want to play in the NHL when I grow up.
On "happy" and "sad", I'd venture a guess: These labels are so prominent because educators use them to explain basic musical concepts to very young children, and for most people, who don't pursue the issue in greater depth, these labels stick.
I was referring to literally how a human being perceives the music in my question rather than how well audiences receive it. For example certain compositions that base themselves on various extramusical patterns to evoke something related to that pattern. If we assume that there is no other musical consideration is going on in the process of composition, it can be safely said that a music based on the distinctive dimensional characteristics of an average window will not evoke the image of a window. Or chance music where the involvement of numerous possibilities don't add anything musical to the performance. Even though it would be wrong to assume that composers who are known to have worked with such compositional ideas really never thought of anything else while putting these works together, there still is an approach to music that has nothing to do with what one hears (again, not audience but any human being including the composer themselves). So what might be the things that I'm missing here? Maybe there always were practises in composition that had nothing to do with listening experience but were always hidden as undetected traditions?
@@samuel_andreyev I agree, it's not really worth your time if you don't feel like there's more for you to explore. I guess I could just copy the style instead....jajaja
Great, thoughtful video! I wanted to ask, whether You had any plans to record an analysis of Schoenberg's baffling Violin Concerto? (speaking as a violinist, not a composer)
A full video on "finding your voice" would be a gift to the world
Thank you Samuel. I’m a fan of your music and I’ve learned a lot from hearing you talk about music. Good luck with everything.
As usual, Samuel Andreyev provides deep insight into music and the aesthetics of modern composition. I often waver between the idea of popular and avante garde and have yet to come to a peaceful resolution of the two tendencies. I have no hope of making a living as a composer nor do I expect to. I have other sources of income as, I believe, Charles Ives did. I would like to be as good as I can be and Samuel provides good guidance on that.
I agree, if I can write a few good pieces without having to worry about profiting from them, I'll be happy. I got my engineering degrees to make money...
Having given up on my dream of making a living from music, the popular vs. avant-garde dilemma has, for me, been supplanted with the breadth vs. depth dilemma. If I'm finally free from all economic obligation to write in any particular style, why not venture outside the music of my immediate geographical and historical boundaries? I finally have nothing to lose.
Very articulate and relatable. Great listening throughout!
Stimulating perspectives. Thanks for doing this video!
Merci beaucoup
Wow, I haven’t gotten a video in my sub box from you in a year, but you have been uploading this whole time
thank you , i love your video
32:03 Regarding counterpoint... I think the music of Schoenberg and Berg actually help me notice the counterpoint of Beethoven, Brahms, and Schumann, now obvious to my ears! (Not Bach tho, his fugue is still too arid for romantic me)
yeah because you have shit taste
Suited up like an attendee at Darmstadt circa 1955 😎
Darmstadt style has gone downhill since then m.ua-cam.com/video/sQtwYxc4_yQ/v-deo.html
I know, looking sharp!
Thanks for sharing.
Concerning "the difficult task of defining the beautiful": Umberto Eco wrote a book called "Storia della bellezza" ("History of beauty"), which does not attempt to give a definition, but a quite thorough analysis. He later also published a companion "Storia della brutezza" ("History of ugliness").
High quality video. Seems like you got a new camera or something. Looks smooth af. Excellent questions/answers too.
It's the same camera, but I'm using a different lens (50mm). I also have someone helping with post production now. Glad you like it. Thanks.
I agree, the new editor is doing a really good job, keep it up.
@@nathangale7702 glad to hear it, I'll pass that along to Marek.
great Q&A
23:21 not coming from classical music this reminds me of harsh noise wall. hnw is not about movement but almost the negation of movement rather. thats not to say that no movement takes place in hnw, a lot of the time it does. but hnw is not a corporeal experience, it is a spiritual one and the most spiritual at that. at least that is how i hear it. sometimes hnw is more a of an anti-art thing ('noise-not-music'). but still i find some of those 'pieces' are incredibly moving and lyrical. i would be really interested in what samuel thinks about harsh noise wall and noise in general.
Long live the king 🙏🙏🙏👏👏👏
Asking if you can make a living as a composer is a silly question asked by people who probably don't have a degree in music. I got a doctorate in classical guitar 2 years ago. I'm having trouble even finding online students. I'm considering teaching elementary school (not music!)just because I need a job eventually. I started composing a year ago just as a hobby, and now I write stuff for chamber groups that include guitar. I'm trying to fill the gaps in the classical guitar repertoire, I'm planning using a pen name. This gives me motivation to keep composing. I know absolutely that I'll never make money off composing that's like saying I want to play in the NHL when I grow up.
You might as well try to make a living as ventriloquist. I’m not saying it’s impossible. But the odds are not in your favour.
On "happy" and "sad", I'd venture a guess: These labels are so prominent because educators use them to explain basic musical concepts to very young children, and for most people, who don't pursue the issue in greater depth, these labels stick.
I was referring to literally how a human being perceives the music in my question rather than how well audiences receive it. For example certain compositions that base themselves on various extramusical patterns to evoke something related to that pattern. If we assume that there is no other musical consideration is going on in the process of composition, it can be safely said that a music based on the distinctive dimensional characteristics of an average window will not evoke the image of a window. Or chance music where the involvement of numerous possibilities don't add anything musical to the performance.
Even though it would be wrong to assume that composers who are known to have worked with such compositional ideas really never thought of anything else while putting these works together, there still is an approach to music that has nothing to do with what one hears (again, not audience but any human being including the composer themselves).
So what might be the things that I'm missing here? Maybe there always were practises in composition that had nothing to do with listening experience but were always hidden as undetected traditions?
I was told by many teachers to find my own voice...
I was also hoping for a sequel to The Tubular West, but that's ok. Sometimes it's better to just imagine what a sequel would be like.
I feel like I've done that. I don't need to do it twice. But I really appreciate the interest.
@@samuel_andreyev I agree, it's not really worth your time if you don't feel like there's more for you to explore. I guess I could just copy the style instead....jajaja
thank you samuel! who is the composer you name at 25.37?
Brian Ferneyhough. My interview with him: ua-cam.com/video/kI7cpFEBwCE/v-deo.html
@@samuel_andreyev thank you very much!
'Lots more music to be written in C major', he said. Well Imagine that.
🔥🔥
Hi, do you take requests? I would like an analysis of skrjabins Prometheus :)
Great, thoughtful video! I wanted to ask, whether You had any plans to record an analysis of Schoenberg's baffling Violin Concerto? (speaking as a violinist, not a composer)
What is baffling about it?
@@samuel_andreyev surely you can guess?
I'm working on a piece for piano and organ. Any suggestions for inspiration and/or plagiarism?
Great advice as always!
Jimmy Smith Haha!
😎
38:00 sorabji shaking rn
Special effects 🤪
I think Andreyev often subverts answering the question in order to say something meaningful, which is a better video, but a worse Q&A
pr໐๓໐Ş๓ 😥
Where is your upper lip?
gotta keep it stiff