Rock Classical

I work to present a different approach to rising above the divisions between classical and popular musics. Popularists have attempted to advance the creative initiative that we find in high arts’ classic work in a different sociological framework, conditioned by technological, educational, and commercial considerations. I think a standard of musical greatness - canonicity - will hold if it is based on the intent of the composer, the realities of the music-making, and the concerns of the audiences. The industrialisation of popular culture, though, is a qualified failure for our countries. Universally, the complications of commerce drive form and content, presentation and context. Rock Classical is a music philosophy that resolves key matters.

The breakthrough to a new vision on life - a firm striding spirit - and on the art itself which we found in the works The Beatles (1968) by The Beatles and what became First Rays of the New Rising Sun (1997) by Jimi Hendrix did not take root. The opportunity for cultural renovation was missed and we are left with a high-water line.

In esoteric composing, Arvo Pärt seems to be a uniqueness. Frank Zappa’s development of compositional possibilities in The Yellow Shark (1993) and Dance Me This (2015) also has gone unnoticed.

I have attempted in my Rock Classical works to provide an allegory-based musical style that foregrounds four components. In ascending allegorical levels, these are: Character, Structure, Concern, Import. In conveying the What or tenor of a work, I craft the Who, How, and Why of the composition. My adaptation to music of Dante’s fourfold schema (as updated by Blake) is, I believe, worthy of notice.  My schematics may be useful for a re-rooting of the cultural breakthrough I speak of, which I call “Imaginism.”

Having studied Chinese poetry and Chinese philosophy I speak to the political and economic point by holding that PR China’s strategy has developed as it has because the West is still in its conflictions. That strategy would take a different course should we transform with a cultural renovation that rises above the commercial and political drivers.

My "trouble times" have kept me from advocating well for my understanding. While I emulate high British poetry, Classical music, a particular approach to politics, and high Chinese culture my participation is secondhand. Traditional and progressive, my transcendent experiences have melded my studies and insights into a creative guidance, visible because of the need for familiarization in our society with visionary perspectives. Thus, I present my argument and my works.