@civilization 3: (with the risk of providing too much entertainment for moderators and friends)
1) Don't try at this late stage of the game to contradict yourself, it's too late for that sadly... Never before have you "agreed" that using sets of fully composed-orchestrated-performed measures of music was (as you chose to say) an anathema, which is all I ever said really. But what am I saying? You have a split personality (apparently war-tugging for that single brain-cell). In the same post you suggest that when you call someone to extemporize on your chords/rhythm/whatever, you still consider the whole piece to be your music. Well, legally it is (I never addressed legalities - you can spew out a whole track made completely out of Symphobia-stencils and legally it's still yours...), but in reality, those measures that any other musician contributed from their own imagination are a collaboration! And don't bring up examples like Lutoslawcki, Ligeti, or Cage (not that you would/could), I have explained about them in older posts. And of course I have in the past qualified my objections to such practices by admitting that true professionals who actually can notate/program those performances, sometimes use these softwares for reasons of expediency or quality of sound (as they are actually recorded live), so again, line 1 of this paragraph...
2) This is a symphonic forum, the Vienna Symphonic Library forum. My signature pertains - and always has - to symphonic music and I include film-symphonic-music to my definition. Although I believe that a composer in any genre must be able to either write/program or play his music (or he does not merit the title), in this forum I am concerned almost exclusively with symphonic music, so don't talk to me about my signature.
3) Your "lack of articulateness" is a given. And there was never a "desperate attempt to dismiss" what you have said on my part, I just never addressed anything that was off-topic (see symphonic music pertinences)
4) Maybe you should restrict yourself to that other totalitarian and politically correct (hence, retarded) forum where they sensor free expression when it is considered offensive. Lest we forget, my title here is not targetting anyone specifically, unless... you read too much of yourself into it?... Which leads us to
5) If you feel the need to tell us what a great musician you are by citing Meyer (who knows, maybe he liked your t i t s - I can see Hal flashing Dietz), it is too late for that as well. In fact, you know nothing about music, do you? At all I mean. I'm greatly surprised to see PaulR is even bothering with you... I can safely make that kind of generilization since you believe that the most gifted composers of the western tradition (~1750-~1910) "wrote puerile melodies". That includes Mozart, Schubert, Bellini, Chopin, Bizet, Tchaikovsky, Verdi, etc., while you NEVER refer us to any superior composers of melody. Further, you publicly suggested that Wagner's entire contribution to music was the invention of "some horns"(!!). Don't make me waste time digging up that post of yours...
And don't say I am being elitist, since a) I at least have never heard anybody from Jazz, Rock, Ethno, or other kinds of music, disrespecting or failing to appreciate the incredible melodic gifts of the above composers, summarily! And b) I am not necessarily ensnared by the masterpieces of the classical tradition, nor do I make "gods" out of a specific kind of composer. Each to their own in matters of taste of course, but for example, in the proverbial desert island scenario, I will take the entire oeuvres of Pink Floyd and Abba with me, rather than those of say Glazunov and Nielsen (to cite well known composers).
P.S.1: You have a syndrome against notation. No one said it's perfect, but I think it is because you know ****-all about that as well, so it scares you. I'm certainly game to take you on with that bet of yours - I certainly will use the money, provided it is worth my while, and that you remember that 'music notation' provides for its own meta-typography, and even verbal instructions, regarding musical passages that cannot be "conventionally" scripted. That includes the use of symbols and drawings for when the effect is more important than the actual pitch or rhythm (see Penderecki, or for more extreme example, Logothetis).
P.S.2: Will you please stop sharing your straw-fetish with me henceforth...
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