Xelebes
Registered User
So often when we talk about influential songs, albums or artists, we wax rather positively on those that led to things we also like. Rarely do we talk about songs, albums or artists that sent other artists in misguided adventures that if they produced anything worthwhile, it was more fun to talk about the pieces more than actually listen to them.
And yes, this thread was sparked by Jim Sterling's Most Influential Games of the 2010 decade video in which he figured Clash of Clans was the most influential game for its contributions to marketing and revenue-generating techniques. So if we are going to take a gander, we are likely to be focusing on songs or such that drove audiences away, that prevented artists from getting signed, that created a business model fashioned after them that forced artists to conform to those models.
So let's start.
Anton Schoenberg's "Du lehnest wider einer Silberwider" (1908) is probably worth a mention. This song was polemical, written in a time when Schoenberg's wife left him for a painter. The lack of a key was an experiment that would be later used on his String Quartet No. 2. This is fine, but the experimentation and the cacophony that followed didn't seem to remember why this was being done in the first place. And this created a problem for future artists as they insisted that these cacophonous sounds were for idealist goals, their ability to write pieces for orchestras grew slimmer as audiences never seemed to be as receptive as the musicians. This didn't get corrected until the 1970s when there was a backlash against this, led by former practitioners like Penderecki finally realised that this music could not achieve the idealism that he was led against. Since then, slowly but surely new works have been coming into the orchestral repertoire including the likes of Part, Adams and Glass.
And yes, this thread was sparked by Jim Sterling's Most Influential Games of the 2010 decade video in which he figured Clash of Clans was the most influential game for its contributions to marketing and revenue-generating techniques. So if we are going to take a gander, we are likely to be focusing on songs or such that drove audiences away, that prevented artists from getting signed, that created a business model fashioned after them that forced artists to conform to those models.
So let's start.
Anton Schoenberg's "Du lehnest wider einer Silberwider" (1908) is probably worth a mention. This song was polemical, written in a time when Schoenberg's wife left him for a painter. The lack of a key was an experiment that would be later used on his String Quartet No. 2. This is fine, but the experimentation and the cacophony that followed didn't seem to remember why this was being done in the first place. And this created a problem for future artists as they insisted that these cacophonous sounds were for idealist goals, their ability to write pieces for orchestras grew slimmer as audiences never seemed to be as receptive as the musicians. This didn't get corrected until the 1970s when there was a backlash against this, led by former practitioners like Penderecki finally realised that this music could not achieve the idealism that he was led against. Since then, slowly but surely new works have been coming into the orchestral repertoire including the likes of Part, Adams and Glass.
