Where I am, the term ‘academic music’ is used for highbrow compositional experiments rooted in theory. I learned that this is called ‘art music’ in English, which is a complete ass of a term.
As it is said, a free-jazz musician knows more about music theory that they're breaking in every way than a pop/rock musician following the theory.
I don't know the theory, but to me Ligeti's work is a bit of John Cage's experiments with the form, a bit of Philip Glass-style minimalism, and some free-jazz slathered on top. An average Swifter or whatever will definitely not appreciate it if you put this music on.
To quote Wikipedia:
Ligeti has been described as "one of the most important avant-garde composers in the latter half of the twentieth century" and "one of the most innovative and influential among progressive figures of his time".
In 1973 he became professor of composition at the Hochschule für Musik und Theater Hamburg, where he worked until retiring in 1989.
Only when he reached the West in 1956 could Ligeti fully realise his passion for avant-garde music and develop new compositional techniques.
So he was definitely in academia very literally, and was “developing new compositional techniques” in it. He was also a contemporary and colleague of Glass, Steve Reich, Terry Riley, and Conlon Nancarrow, who also aren't quite household names, and by some of whom he was influenced.
The Études draw from a diverse range of sources, including gamelan, African polyrhythms, Béla Bartók, Conlon Nancarrow, Thelonious Monk, and Bill Evans. Writing about his first book of Piano Études, the composer claims this rhythmic complexity stems from two vastly different sources of inspiration: the Romantic-era piano music of Chopin and Schumann and the indigenous music of sub-Saharan Africa.
Sure, but my statement was about how I find this music, meaning I don't listen to it because of highbrow academia. It gives me joy like a piece of noisy Jazz can (granted, many Jazz listeners are also pretty highbrow about it), or even some hardcore punk. The fact that he managed to convey this through sheets rather than recordings is remarkable though. And of course my full respects to the pianist here.
The Études draw from a diverse range of sources, including gamelan, African polyrhythms, Béla Bartók, Conlon Nancarrow, Thelonious Monk, and Bill Evans. (...) this rhythmic complexity
Yeah, this.
Steve Reich is pretty good too.
Conlon Nancarrow I never heard of, maybe I should check them out.
This is firmly in territory where the term "classical music" does not make sense anymore.
If you like wild jazz and other noisy stuff, give these "studies" a listen.
First time I heard them was on OTA radio; it really hits differently when you get a bit of analog noise in the mix.
Where I am, the term ‘academic music’ is used for highbrow compositional experiments rooted in theory. I learned that this is called ‘art music’ in English, which is a complete ass of a term.
I don't find this stuff highbrow or academic.
As it is said, a free-jazz musician knows more about music theory that they're breaking in every way than a pop/rock musician following the theory.
I don't know the theory, but to me Ligeti's work is a bit of John Cage's experiments with the form, a bit of Philip Glass-style minimalism, and some free-jazz slathered on top. An average Swifter or whatever will definitely not appreciate it if you put this music on.
To quote Wikipedia:
So he was definitely in academia very literally, and was “developing new compositional techniques” in it. He was also a contemporary and colleague of Glass, Steve Reich, Terry Riley, and Conlon Nancarrow, who also aren't quite household names, and by some of whom he was influenced.
Sure, but my statement was about how I find this music, meaning I don't listen to it because of highbrow academia. It gives me joy like a piece of noisy Jazz can (granted, many Jazz listeners are also pretty highbrow about it), or even some hardcore punk. The fact that he managed to convey this through sheets rather than recordings is remarkable though. And of course my full respects to the pianist here.
Yeah, this.
Steve Reich is pretty good too.
Conlon Nancarrow I never heard of, maybe I should check them out.
Nancarrow seems to mostly be known for ‘Studies for Player Piano’, i.e. basically inventing midi shenanigans before midi was a thing.