KVR Audio

Hovmod · Post by **Hovmod** » Mon May 30, 2005 1:56 pm

Macarena.

(putting on the brand new pretty standard hardcore band JR Ewing to ward off the dreaded Macarena, vowing not to revisit this thread ever again)

haydxn · Post by **haydxn** » Mon May 30, 2005 2:14 pm

if, as you say, the 'last niche' has already been carved out, then there's nothing to worry about. there won't be any more new music whether we complain about it, make it ourselves, or force others to do so - there just isn't any new music left.

which, of course, is bollocks.

bluedad · Post by **bluedad** » Mon May 30, 2005 2:20 pm

clueless wrote:
bluedad wrote:
Sickle666 wrote:
clueless wrote:"...that was DJ Bluedad on Black Radio FM..."
"Coming up next, that great old timey 'Ow, my penis hurts the morning after'.."
or,
'why does it hurt when i pee?'
could it be age-related?

er, perhaps

herodotus · Post by **herodotus** » Mon May 30, 2005 2:29 pm

You know, some like to pay lip service to originality, but when people do make truly original, groundbreaking music, they live in obscurity.

Examples: Schoenberg, Berg, Webern, Bartok, Varese, Nancarrow, Ives, Skalkotas, Xenakis, Barraqué, The list goes on.

Some others who are original to the same extent have become somewhat well known (e.g. Pierre Boulez) but almost never because of what made them original. For example, in the case of Boulez, he directed a major Symphony Orchestra and was a guest conductor all over the world. But to this day his music is as obscure as it gets.

Hovmod · Post by **Hovmod** » Mon May 30, 2005 2:33 pm

Gala: "Why do you take on all these cheap commissions?"
Dali: "I am a genius, be happy I get commissions at all".

Klemperer · Post by **Klemperer** » Mon May 30, 2005 2:34 pm

herodotus wrote:Some others who are original to the same extent have become somewhat well known (e.g. Pierre Boulez) but almost never because of what made them original. For example, in the case of Boulez, he directed a major Symphony Orchestra and was a guest conductor all over the world. But to this day his music is as obscure as it gets.

Not exactly to the point, but me and a few friends got known to Boulez first because he had shouted in the loudest possible way against french conductor and composer René Leibovitz, stating L. would be half deaf and unmusical.
Klemperer (Otto), the conductor, listened to Boulez' early compositions and invited him to play something to him. Boulez was flattered...
So having this nickname I at least should get to know some music of Boulez, I think

androidlove · Post by **androidlove** » Mon May 30, 2005 2:46 pm

"Oh you're a musician huh? Well, where are your hit singles?"

I struggle to make original music. When the dust settles, it's been done before. I'd love to come out with something totally new. I could put together something that scrapes nerves and say "Well, it hasn't been done before." The best I can figure, there's a limited set for making spine tingling music.

Stupid American Pig · Post by **Stupid American Pig** » Mon May 30, 2005 3:00 pm

read "confessions of a music producer" and learn why artists "sell out"

Wopelka · Post by **Wopelka** » Mon May 30, 2005 3:05 pm

herodotus wrote:You know, some like to pay lip service to originality, but when people do make truly original, groundbreaking music, they live in obscurity.

Examples: Schoenberg, Berg, Webern, Bartok, Varese, Nancarrow, Ives, Skalkotas, Xenakis, Barraqué, The list goes on.

well, obscurity is quite relative. Schoenberg was famous and renouned in his time. As were some of the other guys named above. it depends the circle of musicians and music amators you talk to...

Some others who are original to the same extent have become somewhat well known (e.g. Pierre Boulez) but almost never because of what made them original. For example, in the case of Boulez, he directed a major Symphony Orchestra and was a guest conductor all over the world. But to this day his music is as obscure as it gets.

that's right. and Boulez is quite an institution in France, with his baby Ircam, etc. he's a man of power as well as a complex yet creative Monsieur.

xander · Post by **xander** » Mon May 30, 2005 3:06 pm

Churchy wrote:This drives me fuckin insane!!

People putting so much time, energy and money into writing songs that sound like a million other songs?

Don't people understand that to write outstanding music you need to do something different? Push the boundaries? Surprise people??

Did you ever stop to think:

that auto makers the world over keep making cars with steering wheels?

most hotdogs are shaped like penises on purpose?

that a cucumber is shaped like both a hotdog and a penis but isn't one?

people enjoy making music?

that your "standard" may not be everyone elses'?

that your idea of "outstanding music" may sound like complete shyte to everyone else?

that your sanity problem may be hereditary?

that if you pucker your lips properly, you can make your mouth sound exactly like your asshole?

that maybe you meant to make a valid, intelligent point but it all came out like monkey goo?

munchkin · Post by **munchkin** » Mon May 30, 2005 3:07 pm

It's all a load of bollox this originality lark. The more you try to see the more you miss. Don't try so hard and it will come to you. Don't eat the blue smarties. Don't...

herodotus · Post by **herodotus** » Mon May 30, 2005 3:11 pm

Wopelka wrote:
herodotus wrote:You know, some like to pay lip service to originality, but when people do make truly original, groundbreaking music, they live in obscurity.

Examples: Schoenberg, Berg, Webern, Bartok, Varese, Nancarrow, Ives, Skalkotas, Xenakis, Barraqué, The list goes on.
well, obscurity is quite relative. Schoenberg was famous and renouned in his time. As were some of the other guys named above. it depends the circle of musicians and music amators you talk to...

Good point!

But I guess I will define 'obscure' for this thread as 'unable to make a living off of original composition based income'.

Wopelka · Post by **Wopelka** » Mon May 30, 2005 3:14 pm

Schoenberg is also interesting because he has been one of the best harmony theorician of XXth century before going all wild with his "groundbreaking" atonality and serialism...

perhaps you may "break the grounds" only when you know and understand them in the first place?

herodotus · Post by **herodotus** » Mon May 30, 2005 3:18 pm

Wopelka wrote:Schoenberg is also interesting because he has been one of the best harmony theorician of XXth century before going all wild with his "groundbreaking" atonality and serialism...

perhaps you may "break the grounds" only when you know and understand them in the first place?

"Structural Functions of Harmony" is really, really deep stuff. And not a word about atonality or serialism.

Arnold.....Ya gotta love the guy.

VitaminD · Post by **VitaminD** » Mon May 30, 2005 3:48 pm

ATM

I don't really care if others are making original or unoriginal music.. as long as I consider it to sound good I'll listen.

And personally, I dont bother with trying to sound original or not.. I just write my little music and if its enjoyed I'm happy if not well I'm not going to get too bothered over it.. I'll still write what I write. Maybe one day someone will find it and consider it enjoyable..

either way I'll continue to pound my work out..

but no music will be remembered forever.. none.. imo the more 'notable' songs get picked up and represent their respective genres, but even those fade away eventually..

the point being - I really dont think anyone should bother much with trying to make truely 'ground breaking' music for the sake of making truely 'ground breaking' music. Instead, I feel a higher weight should be placed on music the composer/artist/producer/musician truely enjoys.. if that happens to be 'ground breaking' (as I put it) then more power to them..

Why do people feel the need to write standard music?