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Question #3 How do your favorite works inluence you?

You chose the B min Mass or other masterwork as the fundamental work of humanity and you chose a piece or two of yours to share with other intelligent life. 
 
How did the Bmin Mass influence your own best work? 
 
How do those favorite masterworks influence your writing on a daily basis? 
 
If they aren't influencing your writing, why not?
 
You know what great choral works sound like.  What are you doing to create more of them?
 
Feel free to point out places in your works that were influenced by your professed favorites.  I'd like to have a look. Links and measure numbers please if you care to go that far.
 
 
Jack Senzig
Children's Choir of teh Internet
Artistic Director
Replies (3): Threaded | Chronological
on October 10, 2013 8:47am
Hi Jack,
 
Can you give me/us the URL for the question relating to "fundamental work of humanity"? I don't remember what I put down. Thanks. dp
on October 10, 2013 8:15pm
You suggested
Reincarnations – Samuel Barber  (I love Anthony O'Daly)
Requiem – John Rutter
Reflections on Walden Pond – anonymous
 
And you chose your Titanic Requiem.
on October 12, 2013 7:19am
I'm not sure this is Josquin's best work, but it is a very good one, and Josquin is right up there with Mozart, Bach and Beethoven as a favorite composer of mine:  I spent about 3 weeks full time in August on making a modern version of his "Ave verum corpus" (a5) with each note tuned, and finding that intonation provided a clear and unambiguous way to say which notes should and which notes should not have musica ficta (implied accidentals).     I posted full links to score, new recordings, original and new partbooks, and intonation discussion in a thread in the "History and Research" forum on Choralnet here.   It led me to read several musicologists on musica ficta, and to disagree with them all ...
 
As a result of that work, my recent writing has changed a little.   I seem to allow more unisons, and to have shifted toward the subdominant, generally, somehow:  the mutable second scale step, when low, leans subdominant and when high, dominant; Josquin's usage leaves it low except the rare modern-sounding cadences.   The work that first reflected this change is the "Agnus Dei", posted in your other thread.   The same influence is percolating through a new piece, in progress, for string orchestra.  
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