Hmm, I was hoping for something more contemporary that I could relate to, but was disappointed that it focused on pieces written centuries ago...like most formal musical theory.
Anyway, this passage stuck out to me:
"""There is something that still rings true of Mattheson’s general idea. We do tend to associate some musical features with being uplifted and others with melancholic reflection, both of which might afford a certain subsequent pleasure to listeners. Just think of how we use music in our everyday lives: some tunes help us to work out or to get something done, while others allow us to cry."""
Composers aren't the only ones who have ever tried to manipulate the crowd. I'm not sure how pop stars/rock bands etc. plan out their sets, but one thing that any DJ[0] worth his salt pays attention to is "harmonic mixing"[1]. Taking things "darker", or trying to bring up the energy, are common strategies taken into account when planning a harmonic transition. I've personally bore witness to plenty of incredible sets that take you from the very top to the very bottom, and it's funny to me that the same ideas are masked behind hoighty-toighty music theory terminology that is used almost exclusively in reference to...music that was composed hundreds of years ago.
[0] By DJ I mean someone who does more than weddings, and certainly doesn't take requests.
> it's funny to me that the same ideas are masked behind hoighty-toighty music theory terminology that is used almost exclusively in reference to...music that was composed hundreds of years ago.
I'm just coming up to speed on music theory, but my impression so far is that it's reactive, not proactive. We already have music that we like; music theory is about trying to tear it down, identify why we like it, establish base principles that can be used to guide composition, and then use those to create something new. Fairly recently, this had led to "generative music".
I'm finding music theory to be useful to build a more accurate mental model of the instruments I'm playing, which I believe will eventually improve my ability to improvise and play by ear. I think that people who are musical prodigies have an intuitive understanding of those things, but I'm having to build my own understanding explicitly.
I've been playing bass and guitar occasionaly (as an amateur musician) since I was 15 and I'm now in my early 30s, I studied a bit of theory when I was learning and already knew how to build chords and also have a reasonable ear, last months I decided to learn how to read sheet music and study musical theory and jazz a bit more deeper, what I found is that now I'm way more confortable with my improvisation not being repetitive and over the same scales again and again and that I have a way better knack at finding the next note on songs that I haven't heard before, so my experience is similar to yours.
As an aside, I'm pretty certain that I'm suffering from frequency ilusion, I frequently find musical theory discussions at every place that I am used to read, where in the past it seems that this things were not that prevalent.
Well you're lucky I read this comment right as my morning coffee kicked in; it really depends on your taste I guess, but I'll try to be as broad as I can. Most of the sets I've heard/been at were not recorded, so syndicated radio shows from the time are the best approximate of what would have been played.
Lots of more-recent converters to the Prydz fanbase point to this set as being the "A-ha" moment of getting his music. He somehow manages to fit in a lot of different-yet-cohesive moods into 60 minutes, and the final song is a (live?) mash-up of two of his classics that is really, really clever and satisfying.
Take your pick of 2011 or 2004 depending on whether you want to tackle more-poppy, modern 128BPM or a more classic, lo-fi acid-influenced 138BPM. I think the bootleg of Massive Attack's Teardrop from 2011 is a very special track, can't really speak highly enough of it...
I included a YouTube link because the audio doesn't do the gorgeous setting justice - sunset at The Gorge, Washington State, if you can get past the interesting rave attire that Americans seem to feel compelled to wear at festivals. Fine Day is an absolute classic, very airy and day-dreamy; bonus for the recording capturing the crowd singing along.
Club instead of festival or Essential Mix. Again, ends on a very classy, satisfying track that rewards you for sticking through to the end. A bit more techy and minimal than my other choices.
Same club, one year earlier. Again, more techy and minimal. The track around 28 minutes, "Trigonometry" is a perfectly drawn out with a very intense climax, and absolutely deserves the "progressive" moniker - unfortunately it's the radio show and Sasha talks over the track hah. This is only a middle snippet of the full 4 hour set.
Something a bit poppier, but deep. Just like the Eric Prydz UMF set, a lot of Lane 8 fans point to this radio edition as being their "A-ha" moment. Very, very classy and restrained, but with some darker, more emotional moments.
If you can handle modern (post-2000) trance, then this is definitely one of _the_ sets to listen to. Really runs the full gambit of the genre as it was in 2008, starting slower and poppier, and ending with a very intense final two hours.
Anyway, this passage stuck out to me:
"""There is something that still rings true of Mattheson’s general idea. We do tend to associate some musical features with being uplifted and others with melancholic reflection, both of which might afford a certain subsequent pleasure to listeners. Just think of how we use music in our everyday lives: some tunes help us to work out or to get something done, while others allow us to cry."""
Composers aren't the only ones who have ever tried to manipulate the crowd. I'm not sure how pop stars/rock bands etc. plan out their sets, but one thing that any DJ[0] worth his salt pays attention to is "harmonic mixing"[1]. Taking things "darker", or trying to bring up the energy, are common strategies taken into account when planning a harmonic transition. I've personally bore witness to plenty of incredible sets that take you from the very top to the very bottom, and it's funny to me that the same ideas are masked behind hoighty-toighty music theory terminology that is used almost exclusively in reference to...music that was composed hundreds of years ago.
[0] By DJ I mean someone who does more than weddings, and certainly doesn't take requests.
[1] https://music.stackexchange.com/questions/14291/what-is-harm...