Even if it isn’t it opens up an interesting set of questions; is there really such a thing as bad music? And, if there is, what kind of criteria do you judge the music by to deem it unacceptable? [...]
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If we reflect that theory must follow practice, rarely preceding it except by chance, we must realize that musical theory is not a set of directions for composing music. It is rather the collected and systematized deductions gathered by observing the practice of composers over a long time, and it attempts to set forth what is or has been the common practice. It tells not how music will be written in the future, but how music has been written in the past.