Just to be provocative, compare what you hear in this preliminary discussion to the “philosophers” of modern composition, like Theodore Adorno, who wrote in “The Philosophy of Modern Music”, “What radical music perceives is the untransfigured suffering of man…. The seismographic registration of traumatic shock becomes, at the same time, the technical structural law of music. It forbids continuity and development. Musical language is polarized according to its extreme; towards gestures of shock resembling bodily convulsions on the one hand, and on the other towards a crystalline standstill of a human being whom anxiety causes to freeze in her tracks…. Modern music sees absolute oblivion as its goal. It is the surviving message of despair from the shipwrecked.”
“It is not that schizophrenia is directly expressed therein; but the music imprints upon itself an attitude similar to that of the mentally ill. The individual brings about his own disintegration…. He imagines the fulfillment of the promise through magic, but nonetheless within the realm of immediate actuality…. Its concern is to dominate schizophrenic traits through the aesthetic consciousness. In so doing, it would hope to vindicate insanity as true health.”
What is meant by “radical music”? The composers like Arnold Schoenberg, Bertolt Brecht, George Gershwin, Atonalism, movie music, etc, etc.