|
Register | Blogging | Today's Posts | Search |
View Poll Results: What next? | |||
Hermann Nitsch - Requiem für meine Frau Beate (Musik der 56.Aktion) |
![]() ![]() ![]() ![]() |
0 | 0% |
Scissor Shock - Psychic Existentialist |
![]() ![]() ![]() ![]() |
0 | 0% |
Art Zoyd - Berlin |
![]() ![]() ![]() ![]() |
2 | 66.67% |
Meredith Monk - Dolmen Music |
![]() ![]() ![]() ![]() |
0 | 0% |
Minimal Man - The Shroud Of |
![]() ![]() ![]() ![]() |
1 | 33.33% |
Voters: 3. You may not vote on this poll |
|
Thread Tools | Display Modes |
![]() |
#11 (permalink) |
Music Addict
Join Date: Mar 2011
Posts: 937
|
![]()
But in what form? The use of dissonance in music could go back to Jean-Fery Rebel's The Elements, Haydn's Creation, Mozart's Dissonance Quartet. Ives uses it apparently as a contrast to tonal elements in some of his pieces as well. Prokofiev may have done some early dissonant piano pieces.
One area Ives may have been original - if it really matters - is polytonality. Not sure many composers since have really used that technique (again, if it really matters whether it's influential or not). I think the crucial knowledge for people listening to experimental music is really just getting used to a style a piece of music is in That could be classical, jazz, electronica or other kinds of music Last edited by starrynight; 04-17-2011 at 10:23 AM. |
![]() |
![]() |
|