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12-year old music prodigy


vicsant

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There's a healthy helping of Humble Pie for a Tuesday morning!

 

Sometimes the Gods, or the Fates, or Kismet.. whatever, just picks someone and opens up a channel into their brain and pours wonderful music into it.

Now, imagine if this boy hadn't had attentive parents, willing to indulge his talent, teachers ready to help him and, if unable, ready to send him on to an institute of higher learning who could? I'm glad this talent is being nurtured.

Muzikteechur is Lonnie, in Kittery, Maine.

 

HS music teacher: Concert Band, Marching Band, Jazz Band, Chorus, Music Theory, AP Music Theory, History of Rock, Musical Theatre, Piano, Guitar, Drama.

 

 

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no fricken way, hope it doesn't turn out to be a medical condition.

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It's wonderful to hear him explain how he hears his music. Better than watching Amadeus. I'm curious why he's not hearing 20th century music. It all sounds like famous classic styles. I wonder if he will hear music like Charles Ives, Stravinsky, etc?

 

I think ultimately he'll get into jazz (everyone does..)and other more contemporary musical forms....

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I would be fascinated to read an analysis of his music by a formal musicologist that followed this kid's (well, young man's, now) career from afar.

 

It would be interesting to understand how new influences manifested in his music, and if, say, he made "mistakes" (such as not considering individual instruments' pitch quirks, not getting a sonata or rondo right in terms of form, etc.)? I realize training and education mitigate all that, but the part that interests me is the raw feed, i.e. what can be said of the music he wrote before he knew anything about the mechanics of music ...

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It's wonderful to hear him explain how he hears his music. Better than watching Amadeus. I'm curious why he's not hearing 20th century music. It all sounds like famous classic styles. I wonder if he will hear music like Charles Ives, Stravinsky, etc?

 

I think ultimately he'll get into jazz (everyone does..)and other more contemporary musical forms....

I've heard a rumor that he wants to leave music altogether. There could be no truth to that whatsoever, the only caveat is that classical circles are very small.

 

A lot of prodigies leave for a career in medicine. With a brain like that, we might all be better off if he does. It's insanely hard to make big bucks in classical music composition, even if you're at the top. Rachmaninov only wrote 6 major pieces in the last 20 years of his life, no money in it. He made his living as a concert pianist and there's big money in that. Bartok never made much, he got 500 bucks for the concerto for Orchestra. :laugh: Most composers are profs at music schools and that's how they pay the rent. Only a handful like Copland saw the big bucks through their compositions.

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I am, of course, a musical nobody, and so should perhaps just shut up. But his music strikes me as being of greater interest as a neurological phenomenon, or an artifact of some rare neurological disorder, than as music.

 

He reminds me of this guy -- http://www.savagerecords.com/ -- an autistic savant.

 

For a list of some other highly accomplished savants, you could have a look at this: http://en.wikipedia.org/wiki/Savant_syndrome

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But his music strikes me as being of greater interest as a neurological phenomenon, or an artifact of some rare neurological disorder, than as music.

 

What he's writing is fairly typical of classical music in the past 50 years.

 

Personally, I wish that he would perform, I think it's a huge handicap that he doesn't. I've had some very heated debates on this subject with some "star" composers, who disagree (obviously, since they don't perform either). It's a huge mistake and fairly recent. Almost all the big-boy composers of the past were performers, primarily of other peoples' work. Without that, it's like a football coach who never played the game. Composers have to be able to relate to the players, and the best way to do that is to be one yourself.

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It's a huge mistake and fairly recent. Almost all the big-boy composers of the past were performers, primarily of other peoples' work. Without that, it's like a football coach who never played the game. Composers have to be able to relate to the players, and the best way to do that is to be one yourself.

 

Amen to that!

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