We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
That banjo break came out like some of my ad-lib disasters. But the timing came out at the end. That’s half of it right there. Start and end at the right time. Next jam I’ll tell my buds mine was an atonal break.
Eyes rolling now.
As Swain points out, a lot of the new music comes out of university music departments and is awful. We used to subscribe to the Boston Symphony Orchestra when Ozawa was the conductor. He loved modern music or as a friend who played in the orchestra called it, Contemptible Music. There’s plenty of good music that is composed for the movies, John Williams is the most famous of the composers, but there plenty of others, Hans Zimmer comes to mind. Why is movie music is shunted off to the pops instead of the main season is beyond me, it’s sure popular with the general public. I’m sure that the movie guys would like to modify their existing scores for full orchestra and it would be a welcome addition to the repertoire.
I blame critical theory. People underestimate the harm this epistemological argument did to all the arts. Why dos no one want to study literature any more? Critical race theory is just one of the descendants.
Academia and entertainment media both dread repetition of what's already been done before, and emphasize novelty over quality. Hitch those forces to a "forever young" culture of self absorption and this is the result.
It's not just "serious" music - musical theater suffers the same malaise. There is compensatory irony in watching navel-gazing woke performers and directors destroy modern musical theater pieces by equally juvenile, navel-gazing writers and composers.
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