Modern classical music is like modern art. One big garbled mess. There is no discernible structure, and, lacking any sort of rhythm or melody, one piece is indistinguishable from the next.
This past weekend my ears were forced to endure the 40 minute premiere of a symphony penned by a millennial hipster, prior to the Beethoven concert I planned to hear. It was like every other modern classical piece I have heard: an aural assault of dissonant noises, repetitive sounds, and unnatural rhythms. As I suffered through this piece, longing for the end, I reflected on the similarities between modern classical music and modern culture.
Disposable Pop Culture
When one mentions Beethoven, you likely hear the melody of Beethoven’s 5th, or perhaps Moonlight Sonata playing in your head. Mozart evokes the tones of the Marriage of Figaro. Tchaikovsky will surely recall some melodies from the Nutcracker. Richard Wagner will likely trigger some Flight of the Valkyries.
I’ve never heard a modern dissonant classical piece that I could remember anything from the next day, nor compare to any other. They are completely forgettable, lacking any melody or chorus. This is why it is difficult to find recordings of any of these pieces even 10 years after they are released. Indeed it was difficult to even find many examples on youtube, as no one bothers to even record the performances (and trust me, the examples here are relative masterpieces compared to the modern pieces I’ve suffered through).
Modern culture tells us that short skrillex haircuts, defiling the body with metal shrapnel and inked graffiti, and massive, revolting body fat is “beautiful.” This message is so successful, that today, in the west, it is extremely difficult to find a female below the age of 25 who has not purposefully destroyed her physical beauty in multiple ways.
As this worship of ugliness has marginalized natural beauty, likewise, modern classical music teaches us that dissonant chords, out-of-key incongruous sounds, and loud, harsh noises are pleasant and desirable. Gone are the naturally pleasing chords and intonations which music theory teaches are good. Listening to a modern classical piece is truly like watching the Emperor parade around in his new clothes.
Repetition Trumps Creativity
Much as feminists do little more than repeat meaningless phrases like “Rapists cause rape” and “Still not asking for it” or having Trigglypuff breakdowns at public forums instead of having a thoughtful discussion, modern classical music replaces creativity and musical complexity with repetition.
In the piece I heard this weekend, much as in the piece below, the same chord was repeated at least 50 times before another instrument joined in. One may assume this is because it’s so daring and shocking to keep the audience guessing when he’s going to change and play something else. Surely he won’t continue the same chord for another 10 seconds. But then he does! How rebellious and avant garde!
The Circle of Fifths – outdated once we invented the third gender
The western system of music divides sounds into 12 tones, with a subset of 7 of these tones being related in a specific way known as a “key” (eight counting the octave, which is double the frequency of the first note). The notes are mathematically derived, based on the number of vibrations per second of a tone, and applying a ratio to obtain other tones that are both arithmetically related and aurally pleasing.
Typically, before beginning to play, the orchestra musicians will all tune their instruments to a middle “A4” note of 440 cycles per second. Avant garde modern music does away with all of this, allowing all 12 tones to be used at any time, essentially doing away with the idea of a musical piece having a key. Notes which are 1/5 away (for example from C to G) have a naturally pleasant sound, and mathematically there is a relationship of 3/2 the frequency of the original note to its fifth.
Fractions perfectly describe the relationship of each of the notes in a key to each other, and this system of music developed in most cultures throughout the world, whether they understood the mathematic principles behind it or not. There are physiological reasons that certain frequencies are harmonious to the human ear. When notes are played which are not strongly mathematically related, they have a harsh, dissonant sound. In fact, music theory describes these as being “unresolved” or “anticipatory” sounds, and can be used to help build up to a grand climax of harmonies. The problem with modern musical pieces is that the entire symphony is one 40 minute assault of dissonant sounds. It’s like listening to a 40 minute standup routine with no punchlines.
Of course, we see the cultural counterpart to this all the time. While there is a biological basis for some natural level of homosexuality, the large numbers of deviant lifestyles today, including bisexual, pansexual, or any of the other 49 flavors of crazy are nothing more than emotional outbursts of troubled minds who know of no better way to express their frustration than to shun the norms and mores of their culture.
Being a tranny shouldn’t be a lifestyle choice. It should be something done privately in the extremely rare case of severe sexual birth defect or gross medical error, and perhaps for the sake of comedy, at Halloween, or as in Monty Python skits, or Chris Farley working at the Gap. No one can truly want a livestock ring placed in their snout. This is clearly a case of rebelling for the sake of rebellion. And yet I see both trannies and livestock implements in millennials on a weekly basis.
Beautiful classical music can be inspiring, emotional, thoughtful, and powerful. The message behind many modern classical pieces is one of unhappiness, chaos, conflict and discord. And the main problem is that these are not themes that the music touches briefly upon; instead the composer assaults the audience with nothing but harsh, aggressive, chaotic tones for the duration of the piece. It’s the musical equivalent of watching a horror movie full of nothing but the scary scenes, with all dialogue and plot devices removed.
With SJWs and feminists, we can see that they are clearly unhappy and emotionally unstable. They could take a few easy steps towards being more attractive, desirable and happy, but instead choose to live out miserable lives mutilating their bodies and defiling their spirit.
Now, some will say there are no rules to creativity, and that is partially true. An artist should be free to try whatever he wants; however, Stephen King knows that putting random words down on a sheet of paper, just because it breaks the rules of grammar and the precedent of all of literature, will not make for good storytelling. Indeed, one of my favorite pieces, Aaron Copland’s Appalachian Spring, is modern, breaks many traditional musical rules, and incorporates dissonance, but is also full of beautiful melodies and harmonies.
Artists should be free to experiment. But just as no one is going to be wearing the above jacket any time soon, humans the world over have shown a distaste towards discordant sounds, lack of melodies, and harsh noises which defy the laws of basic music theory and mathematic tonality. Experimenting with different techniques is great, but writing an entire symphony that sounds like unsupervised children banging pots and pans for 40 minutes straight is not creative, is not beautiful, and is not artistic.
Why Do We Have Music?
The purpose of music is to relax, to express our emotions and our humanity. Perhaps the authors of these pieces are so broken and distorted inside that they have nothing to say but the musical equivalent of feminist screaming, but the musical establishment should not be supporting and condoning these works. Music is a record of our culture and our civilization, and while perhaps modern composers are being honest by musically describing the world as a disarray of ugly and disturbing tones, we should strive for something higher. Modern classical music is yet another piece of the mass ugliness that our culture presents in art, architecture, literature, culture, fashion, and design.
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