“That’s not real music.” Any educator, performer, and advocate of new music has undoubtedly encountered this statement. Audiences like what is comfortable – recognizable structure (symphony having four movements, sonata form being in three primary sections, recurring melody, etc.), a consistent rhythm and beat (waltzes, common time, etc.) and of course, a westernized tonal center complying with the social construct of “major = happy, minor =...
Read More