Re: Is lilypond really suitable for composing?

[Karlin High]

On 3/25/2018 6:43 AM, Kieren MacMillan wrote:
> Apparently you haven’t been to any new classical music concerts in the last 
> half-century. It’s*quite*  clear that many composers — especially inexperienced 
> ones — have no problem composing dissonant pieces without access to the the 
> actual timbre and overtone composition of the music they’re writing.

"
There was a time when the first performance of a recent commission 
struck fear into the most broad-minded listener. We used to brace 
ourselves for horror and were rarely disappointed. In those days, the 
struggle to write more atonally than the next man was palpable. No 
self-respecting composer would pen a concord if he wanted to be taken 
seriously by his peers: to do so was to be compared to those who made 
soft-harmony arrangements of famous melodies. Now soft harmony has 
become dignified, with all manner of clever names — tintinnabuli, holy 
minimalism; while popular tunes are quickly identified as being ‘chant’, 
and quoted whole.
"
- Peter Phillips
<https://www.spectator.co.uk/2014/12/why-church-music-is-back-in-vogue-and-squeaky-gate-music-has-had-its-day/>

--
Karlin High
Missouri, USA