<html><head><meta http-equiv="Content-Type" content="text/html charset=iso-8859-1"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;">Stephen,<div><br></div><div>Your post reminded me of the opening paragraph of my Tristan article from many years ago.<div><br></div><div>
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<!--StartFragment--><p class="MsoNormal"><font face="Baskerville"><span class="Apple-tab-span" style="white-space:pre"> </span>Every compositional process
is a mind game that the composer plays with himself. Every game has an objective, game pieces,
<span class="Apple-tab-span" style="white-space:pre"> </span>rules, and moves. The intellectual joy of every theorist is to postulate about
what kind of game plan a certain composer may have <span class="Apple-tab-span" style="white-space:pre"> </span>employed in the act of
writing a particular piece. Few works in
the canon of our music history have tempted theorists more than <i>Tristan und Isolde</i>, especially the Prelude
and the Liebestod. I would like to believe that each one of those theorists
felt humbled by the genius and beauty of this very special piece and that their
explanations fell short of completely unearthing the mystery of its creation.</font><font face="Bookman"><o:p></o:p></font></p><p class="MsoNormal">There are very few original games; most are extensions or variations of previous games. The composer begins his composition by deciding which elements from previous games he will reuse and which he will invent. Composing begins with a multiplicity of decisions about what to use and what to discard. The biggest decision is whether to adhere to the aesthetic of his predecessors or contemporaries, choose a parallel path, or to take an entirely new road. We call that style. It may be original to some degree or other, or conformist. Those decisions are often influenced by the purpose of the piece and who is paying for it.</p>
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<br><div><div>On Jul 11, 2014, at 2:17 PM, Stephen Soderberg <<a href="mailto:hyperchord@me.com">hyperchord@me.com</a>> wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div><div>Here is the first of what I expect to be the final three posts in the thread "Desperately Seeking Relevance: Music Theory Today" in Essays & Endnotes. (The other two posts are nearly complete.) </div><div><br></div><div><a data-mce-href="http://essaysandendnotes.blogspot.com/2014/07/desperately-seeking-relevance-music.html" href="http://essaysandendnotes.blogspot.com/2014/07/desperately-seeking-relevance-music.html"><em>'"Modes of Imagining": A few thoughts on rules, definitions, common notions, requests, postulates, axioms, hypotheses, and other stuff'</em></a>:</div><div><br></div><div><br></div><div>-- Stephen Soderberg</div><div> Keswick, VA</div></div>
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