Complex does not equal Success
12/02/13 12:34
I’m composing my first serious, extended work for choral ensemble. As I delve deeper into the history of choral music, I’m torn between the urge to write simply, cleanly, and beautifully...and the urge to write for choral ensemble as I do for instrumental ensemble (within reason, of course). From where do these conflicting urges arise?
I consider, in certain contexts, Beethoven’s music to have an incredible amount of complexity and an equal amount of simplicity. Some of my favorite Debussy works do not contain terribly intricate harmonic progression or blinding splatters of black on the page. Where did we get the idea that more equals better?
This choral work will serve as my Master’s thesis. I want to write a work that communicates my idea faithfully, and that does not necessarily mean a great deal of complexity. Is that wrong? Would I feel less guilty were I not writing within the confines of an academic setting?
When do we composers actually write what WE want to write? When does it matter? Does it ever matter?
I consider, in certain contexts, Beethoven’s music to have an incredible amount of complexity and an equal amount of simplicity. Some of my favorite Debussy works do not contain terribly intricate harmonic progression or blinding splatters of black on the page. Where did we get the idea that more equals better?
This choral work will serve as my Master’s thesis. I want to write a work that communicates my idea faithfully, and that does not necessarily mean a great deal of complexity. Is that wrong? Would I feel less guilty were I not writing within the confines of an academic setting?
When do we composers actually write what WE want to write? When does it matter? Does it ever matter?
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