I'm listening to it now and thinking about accessibility and musical landscape and structure. The conceptual and sonic milieu that Bryars manufactures is one that I feel very comfortable with personally, but only because of my experience and exposure as a grad-student in composition when the world that I was immersed in sounded like this. There is a sort of home/comfort to me in it, but I can appreciate the absorption challenge that these kinds of works can hold for other people upon initial listening, particularly in a live setting. As you said, it does not have the comprehensible mathematic skeleton of Baroque music, for example.
I had guessed that you were referring to "The Sinking of the Titanic" in your reply to my post, but I forgot to ask.
p.s. I loathe Garrison Keilor with a white-hot, nearly unfathomable passion.
p.s.s. I know you know this, but you're hardly a cultural clod!
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
no subject
Date: 2008-02-28 10:45 pm (UTC)I had guessed that you were referring to "The Sinking of the Titanic" in your reply to my post, but I forgot to ask.
p.s. I loathe Garrison Keilor with a white-hot, nearly unfathomable passion.
p.s.s. I know you know this, but you're hardly a cultural clod!