Not your minions !
I’ve chosen to approach this issue in a civilized manner. If post-modern avant-gardes wish to lecture me on what they perceive as modern and appropriate, then let’s demonstrate true modernism through the lens of Freedom of Speech, freedom of expression, and freedom of the press. It’s evident that they prioritize their notion of “professionalism”, where those minions unquestionably echo the doctrines of their bureaucratic leaders. These particular pretentious post-modernists seem solely focused on superficial trends and gaining shallow recognition, neglecting the importance of understanding processes and histories. When classical is deemed too old-fashioned and modernism not ‘new enough,’ they resort to postmodern bureaucracy to dictate other people’s aesthetic standards, often resorting to subtle forms of cancel culture and shaming. Let me be clear: I refuse to conform to such a mindset. I am not a minion who echoes bureaucratic rhetoric, and I will not accept shallow advice from those who follow fleeting trends.
About the program
This program is a journey into the intricate world of experimental music and avant-garde culture, uncovering the creative process behind groundbreaking compositions. Inspired by influential figures like Stockhausen and Rzewski, we delve into the realm of unconventional sound and artistic expression. The narrative begins with personal reflections on experiences of depression and nightmares, which become catalysts for artistic exploration and experimentation. Throughout the video, we explore the tension between genuine avant-garde artistry and the shallowness of sham avant-garde culture. We emphasize the importance of artistic integrity and deep thought processes, committing to breaking away from hollow trends and embracing authentic artistic expressions!
I hate passive-aggressive attitude
I prefer to address issues straightforwardly rather than resorting to passive-aggressive attitudes. While I aim to express my dislikes without singling out individuals, I remain respectful and open to cooperation in the future, without holding grudges. So let me be clear: Some of those so-called “diverse international festivals” hold no appeal to me whatsoever, even if you pay me I would not go, as the only power the theatre has is to hold my grade hostage. I am not desperate for such types of tokenism. With all due respect, I wish to formally withdraw from any future involvement in such types of festivals.
Contents
1) First Movement: Experimental Tones inspired by Frederic Rzewski’s Aerial Tarts. This movement is inspired by Rzewski’s ‘Ariel’ tart, where I’ve arranged it using his unique method as a foundation but with my own twist.
2) Second Movement: Professor Gabriel was onto something! Reject the notion that music is a universal language. (Inspired by Prof Gabriel Bouche Caro’s renowned classroom speech) It’s intriguing how this piece came together. During the fall semester of 2023, I encountered a conflict with a piano professor. However, we managed to resolve our differences, and I find myself missing her presence. Despite our philosophical disparities and differing approaches, compounded by misunderstandings, she remains a genuinely nice person. It was during this reflection that I recalled Professor Gabriel’s assertion about music not being a universal language. I wholeheartedly concur that music transcends uniformity, but it can never be a one size fit all language; it serves as bridges to entirely different universes. This composition originally started as a satirical piece with extreme views. However, my perspective towards that piano professor has changed, leading me to create a later updated version.
3) Seventh Movement: Variations on Merry Go Round (Resurrected Melodies)
In the beginning of the class, I shared many thoughts with that piano professor. I initially set out to compose a basic sonata, drawing inspiration from Mozart’s K331, a piece I had performed in Professor Lewis’s class. My aim was to convey a blend of nostalgia and appreciation for Professor Lewis. However, the piano professor recommended that I change the title to “Mystery from Mozart and Beethoven” to attract the audiences. She then suggested integrating Hisaishi Joe’s “Merry Go Round” from Howl’s Moving Castle. I also intended to compose something in the Mazurek style to express my gratitude towards my therapist, Marzena. However, that piano professor encouraged me to experiment with beats, almost adopting a jazz-like approach which is far different from Mazurek style. Despite our differing opinions, I recognized her good intentions and attempted to cooperate initially.
During the midterm, a conflict arose due to ineffective communication, leading to confrontations and a rift between us. However, she made efforts to reconcile with me and provided invaluable assistance in the end. Despite the heated exchanges from both sides, I came to realize that she is a genuinely nice person. This realization prompted me to revisit the idea of the Merry Go Round. I rediscovered the draft I had once abandoned in a fit of anger. That melody, once erased in frustration, now symbolizes reconciliation. I reimagined it in various styles studied during her piano class, culminating in the addition of Messiaen’s leaping style at the end, as she had expressed her fondness for Messiaen during her student years. Had I been permitted to perform this piece at the Winter Composer Forum, it could have been during Christian Lent. I prayed for divine intervention to mend this wound and grant me a deeper understanding of her, despite our divergent aesthetic sensibilities. I also expressed gratitude to her for making efforts to understand me and for helping to resolve our differences. I pledged to continue incorporating her valuable advice on rhythm and technique to enrich my future compositions. In a world filled with superficial and pretentious individuals, I acknowledged the occasional influence of such individuals on my judgment, especially during conflicts, and expressed sincere remorse if I had wronged anyone.
Conclusion
This past year has reinforced the notion that silence is never an option for me. I’ve come to understand the importance of expressing my true intentions and reaffirming my commitment to the history and process behind everything. At the same time, I’ve remained steadfast in my refusal to be assimilated into the sham avant-garde culture, where gimmicky drums and game controllers with laser beams are merged together in the name of modernism. It’s become apparent that these individuals are no longer interested in creating anything meaningful. They preach about breaking free from traditional forms and liberating art and music for all. They claim that anyone can be an artist or musician, without even the need for canvases or instruments anymore. However, the moment you disagree with them, they resort to subtle suggestions, shaming, gaslighting, and passive-aggressive attitudes.
Are they truly breaking away from formality, or are they merely establishing a new form of bureaucracy? For me, composing is akin to writing in my diary—I’m not concerned with others’ opinions. Audience approval and popularity have never been my priority. Publishing my work serves as a means to bolster my courage and reaffirm my beliefs. That’s all that matters to me!
