# Different approches thread series proyect



## Richannes Wrahms (Jan 6, 2014)

The idea is to make a series of threads regarding the different historical approaches to composition, what the inteded effects were and how does the modern listener perceive the resulting pieces depending on their background. 

A thread would be opened about each of the following names in capital letters, the topics inside to be adressed (hopefully with the help of more knowledgeable members than me):


MODALITY: Medieval Diatonic Modality, Medieval Chromatic Modality, Renaissance Diatonic "tonal" Modality, Renaissance Chromatic Modality, Neomodality, Ambiguous Modality, Polymodality 

TONALITY: Functional Tonality, Non-functional Tonality, Ambiguous Tonality, Polytonality, Neotonality 

ATONALITY: Thematic and motivic Atonality, Athematic Atonality

SERIALISM: Free tone row/s Serialism, 12-tone Chromatic Serialism, 12-tone Diatonic Serialism, Total Serialism

TRANSCRIPTION (of natural and artificial sources)

MUSIQUE CONCRETE

MATHEMATICAL MODELING

ELECTRONIC

INDETERMINANCY/ALEATORICISM: Random procedures, Controlled chance, Graphic notation 

SET-THEORY

SPECTRALISM


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## Ethereality (Apr 6, 2019)

A few you listed are sort of primitive foundations, no? (compared to more obvious differences one finds between the greatest composers.) Take Uematsu and Mozart for instance. The former structures theme and part-writing upon the foundation of long world-building form, while the latter structures entire theme and orchestration within tight boundaries, ie. movements and consecutive patterns. Two of the most talented and reperformed composers of all time, but the philosophies inherently different: they represent form's perfect transition from Classicism, to the Romantic and Contemporary. How many more-useful dichotomies can we illustrate before we begin nitpicking through the useless ones?


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