Are we all capable of being the next Beethoven?

"We already have all the knowledge we will almost ever need in making music"...
 
Where to begin (I will be a bit blunt)????
 
Especially with "serious" composition, that sentence implies that I already know all I will need to know about orchestration, counterpoint, and harmony, not to mention the tonal characteristics of every available instrument and the variations of timbre throughout the instrument's range.  Oh, and I should add the impact of all the different bowing techniques on string instruments, breath requirements and techniques for woodwind and brass instruments... etc., etc., etc.  In short, virtually no one "knows it all".
 
And as for Beethoven, all indications are that he was a real pain to deal with at times, because he certainly did know that he was that good.

I Am deafinately deaf! I can't see neither. I have trouble walking and holding myself and a guitar level. When I sing I sound like Carol Channing. i Am guessing I suck pretty bad. The last song I wrote and recorded my sister listened for about 15 seconds turn around and walked out of the room. All this does not discourage me because i Am of lower intellagance. I thought about it.  I think I Am great!

Hi,
 
Wow ... you just won't quit, hey?
 
Music history, as of today, is undergoing serious changes. Changes that the "classical" world is not willing to appreciate and study, at that, but as time goes by, they will lose the battle. Why? They won't be there and the new music will. Very simple.
 
Some considerations, that would have to be detailed and discussed:
1. In the future, I believe that "composition" might also be accepted/defined as coming from a group. For all intents and purposes and music history, these moments probably also were there, and we do not have anything written on it, and this would go back to the medieval times, when the Chants were actually not all written and many folks added their own part. What we hear today, is thought to have been composed. If this works, the Beatles, will be an entity, so will several other bands due to their amount of work.
 
2. The instrumentation history is falling apart. One synthesizer, can now play all the parts of an orchestra -TOGETHER- and this is a massively helpful tool for a composer, but it also makes for the composition to be lazy and more pop music oriented, that is ... four lines of music on a staff, instead of 25 or 30! In this sense, rock'n'roll, is the simplest and the easiest to teach anyone. Not to mention that most of it is strictly tied to melody and harmony and nothing else. This history, will cause a lot of music to change and become something else that it has not been. But I find it strange that many "classical music" lovers, do not even appreciate Mike Oldfield, Vangelis Pappathanassiou, or Riuychi Sakamoto, as they are the foremost composers of the past 50 years! But we're so structured in one "format" that a guitar in there is out of place. It doesn't need to be!
 
3. Remaining to be seen, will be the "popular" point of view in the history of music. If it will create a separate venue, or simply blend in and destroy the high concepts and ideas in the music history that academia uses to define music. Popular music, and even jazz to an extent, was originally considered "street music", and thus, its value was not as "important" or as "great" as the pieces that we have come to enjoy. But then, there have been many rock/jazz musicians that have created pieces that are equivalent to a 5th or a 9th, but you YOURSELF, won't give it the time of the day for a listen! This "disparity" has to come to an end, so one can define music a lot better.
 
My only concern with the "high" levels of music definition, is that you limit the number of people that can play it and develop it. Thus, in many ways, and sometimes due to its emotional content, a lot of pop and jazz music ends up being a lot more intelligent than most classical music. I find it difficult to list a classical piece of music "composed in the last 45 years that might even stand up to a couple of Miles Davis pieces! Those might be improvised, but the subtleties and quality is far superior to most compositional sensitivities, which classical music, and YOU, have a tendency to think that you can invent emotion out of your mind.
 
You can't. You have to live it. And nowadays, you are being selective about how this can be described and shown to you in music. Therein lies the problem and where things need to be defined better.
 
All music is important. Our meanderings, not as much!

jamesg1213
I'm just going to go with 'No'.

I no. I no. I no see tracks yet, no?

bapu

jamesg1213
I'm just going to go with 'No'.

I no. I no. I no see tracks yet, no?

Got drums yet? I like tracking to real drums.

Mozart Link
Therefore, what would you say to him?

I'd say ''stop posting about composing, get on and do it''.

bapu

jamesg1213

bapu

jamesg1213
I'm just going to go with 'No'.

I no. I no. I no see tracks yet, no?

Got drums yet? I like tracking to real drums.

Nope. He says he likes tracking to real guitars.
 
A conundrum or convoluted guitars.

Hmm. Perhaps real bass would help things along..
 
 
 
 
 
 
 
 
 
 
 
Do you know anyone?

My sister taking music in college had to play 4 different parts all at the same time on an organ playing Bach. The feet were flapping, the hands were flapping and that was Bach. Who is this Bee-thoven?
There is no Bee anything flapping hands and feet around.
 

Just imagine a 'Hi' at the top.

I wish I had some of what you're smoking. 

There are 25 foot pedals on an organ, and 5 octaves of keys.
Two keyboards, 25 foot pedals.
 
Drums are similiar, and ain't smoking nothing but the beat, flapping both feet and both hands in rhythmic nuances.
 
I don't know what your problem is Beagle, but it is YOUR problem.
 

noldar12
"We already have all the knowledge we will almost ever need in making music"...
 
Where to begin (I will be a bit blunt)????
 
Especially with "serious" composition, that sentence implies that I already know all I will need to know about orchestration, counterpoint, and harmony, not to mention the tonal characteristics of every available instrument and the variations of timbre throughout the instrument's range.  Oh, and I should add the impact of all the different bowing techniques on string instruments, breath requirements and techniques for woodwind and brass instruments... etc., etc., etc.  In short, virtually no one "knows it all".
 
And as for Beethoven, all indications are that he was a real pain to deal with at times, because he certainly did know that he was that good.

It would actually be knowledge that you are aware of since you are able to create any sound/instrument/song in your head, but it would be knowledge that you can't put into words.  As for physical aspects like the ones you've stated, you don't have knowledge naturally of that.  But, again, in terms of mental knowledge used to create any song or sound in your head, you have practically all the knowledge you need as this was all knowledge obtained naturally throughout your entire life.
 
So my question would be, again, since we already have all this knowledge, then couldn't we create the next greatest song in our heads if we just channeled deep enough within ourselves?  If not, could you explain why?

hmmm....
 
well.  I guess it is then.