Reverse Adirondack as fuck.
The idea of a piece of music being “derivative” is something I’ve explored a bit in this space previously. Within the sphere of organized sound the possibilities have been virtually exhausted at this point, and if you are composing firmly in the area of tonality, you can remove the “virtually” from that sentence because Tristan and Mahler 7 pretty much won tonality already (I suspect Schoenberg agreed with this………………..).
That doesn’t mean that there’s nothing interesting to be said, though. There are countless works of art that are universally recognized as significant achievements that are extremely derivative. Take the story of the aforementioned Tristan, which predates the awfully similar yet probably more famous tale of Lancelot and Guinevere. Or how about the much-loved-in-these-partsSibelius 1, which has an incredible Tchaikovsky imprint running throughout it. How about “Brokeback Mountain,” a movie which somehow garnered a reputation…
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