>"For me, the highest value of music is outside its color. Special instrumental timbre is part of the music, yet it’s not a primary quality. That would be my capitulation to the secret of music. Music has to exist by itself . . . two, three notes. The secret must be there, independent of any instrument." - Arvo Pärt
Well /mu/, is he right? I think this explains why, despite all of the timbral innovation of the past 70 years, music still feels fundamentally stagnant.

It's a fantastic mindset but I don't think it's the only interesting or valid one. I saw this as a fan of his major compositions.

>>127085790
*say this

>>127085760 (OP)
>music still feels fundamentally stagnant.
I disagree

>>127085760 (OP)
He surrenders that the secret of music (what makes it feel special?) is not held in instrumental timbre, but is instead in natural 2-3 note sequences that happen to work regardless of timbre. I dunno...I think making music that makes people feel all tingly is all about contrasts, so the complex parts are as important as the simple parts, because they need each other to work.

>>127085805
All of the "innovation" nowadays is fake, it's a sleight of hand.

>>127085760 (OP)
When the rhythm the tambre and the pitch order are cool then the music is cool. It's not complicated you stupid fucks.

>>127085760 (OP)
>The secret must be there, independent of any instrument."
well hes not wrong, but not revolutionary statement by any means. everyone knows bach hits hard as fuck through a shitty midi file or a giant pipe organ, doesnt even matter. good shit is good, no shit.

now it also hints that this whole past century was a thorough mistake, and things got even worse with recorded music.

>>127085805
that's because you're a fucking zoomer retard