Wes replies to my statement that that I thought that it was ironic that he
is *aware* that Debussy had problems with the standard musical forms of his
day, and finally the ironic part, which you summarize for me on 8/3:
>My statement about Debussy had nothing to do with 12 tone music at all.
>I was commenting that I thought form was important in music. I went no
>further that.
You went no further than that, but Debussy did. I was showing you
that Debussy's decision to dismiss large-scale form in favor of motivic
coherence was a major step toward the *evolution* of the 12-tone system.
It wasn't *suddenly* invented as you imply over and over again. Let's not
forget Liszt' famous 12-note row in the "Faust Symphony" and also look at
some of the Mussorgsky songs--one with chords that Debussy uses in
"Nocturnes."
>You took little portions of my postings completely out of context and
>then, with no care given to accuracy, combined them to make one statement
>which I did not make. (8/3)
I am very aware that I combined two completely different statements--the
irony is that these statements came from the *same person*. As far as
taking your statements out of context, surely the comments of yours which
I listed above can stand on their own, being that they are presented
repeatedly and are objective and factually-based. As for accuracy,
to change even one of the words in your statements would not only be
unethical, but it would also weaken the charm of my observation. I
invite anyone to go back to the archives and look.
>I found your posting to be a little on the rude side and aimless.
Rude? Maybe I should have inserted a little happy face here and there.
Remember, I didn't tell poor Professor Chasen to quit his day job, (are
you ok, Prof. Chasen?), or consider a major branch of 20th-Century music
hog-vomit! I know you were speaking tongue-in-cheek--I was too!
Aimless? I am pointing out that, if you are *aware* that Debussy was not
happy with the standard musical forms of his day, (as he and others were
*already* flirting with tone rows), how can you repeatedly imply that
12-tone music was an isolated and sudden invention, as your above
statements concede?
John Smyth, (hopefully not so ridiculous this time)
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