this post was submitted on 25 Mar 2024
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Music: Theory and Practice

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This is a community to engage in musical theory and practice. What exactly does that mean?

To that end, this is simply a space for people of varying backgrounds and education to share music and their thoughts about music. Musical study via the history of music is also encouraged.

Rules:

  1. Standard GZD rules apply here

  2. No elitism tolerated. The value of music is ultimately determined by how socially necessary it is, i.e. how much people like it and interact with it.

  3. By the same token, no anti-intellectualism tolerated. Like anything in the world, music is something worthy of study that everyone can always learn more about.

  4. No Eurocentricism tolerated. Western (specifically German) music theory and practice being considered inherently superior to the music of other cultures is reactionary.

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cross-posted from: https://lemmygrad.ml/post/4079282

Check it out:


When reading through Aaron J. Leonard’s book, The Folk Singers and the Bureau, I was delighted to discover the single mention of a curious 1930s musical outfit: the Composers’ Collective of New York.

The collective consisted of a group of left-wing composers in the U.S. who, to varying degrees, wished to use their music to help the working class. “Members” of the collective, a term used loosely here, seeing as membership was not necessarily official, included famous and less-famous composers like Aaron Copland, Hans Eisler (who co-wrote Composing for the Films with Theodor Adorno), Earl Robinson, Elie Siegmeister, and Marc Blitzstein.

Grappling with what it meant to create “proletarian music” in the age of conflicting modernist and popular trends, they also debated how directly composers should be involved with politics.


The playlist can be accessed here.

Cheers, everyone.

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