What is it about stuff like this,
[The "New Music" composition] Quick Thrust is entirely a product of interferences of monomial periodicities. [The composer] Mikel [Rouse] rather fanatically derived all of his rhythms based on periodicities of the Fibonacci numbers 2, 3, 5, and 8. Every rhythm was either the result of the sum attacks of repeated notes of these durations, or else of a larger rhythmic unit divided into 2, 3, 5, and 8 parts. For instance, the bass line was frequently the result of dividing a duration of 30 8th-notes into 2, 3, and 5 equal parts. [extracted from this post]
Only six years ago, the composer and conductor Pierre Boulez, evidently frustrated by the continuing ubiquity of Shostakovich's music in concert halls and on CD, declared that popular interest in the Russian composer was "influenced by the autobiographical dimension of his music". A modish enthusiasm for him was bound to be short-lived, suggested Boulez, for the music itself was just "third-pressing Mahler" (an allusion to the process used to extract the cheapest and most tasteless kind of olive oil). Not long ago, in my presence, one of our most distinguished and brilliant musical academics wrung his hands and asked, "But this music is completely empty. What do they see in it?", while one of his colleagues was elsewhere heard muttering a version of that old jibe: "If I could press a button and destroy all memory of him and his music, I would press without hesitation." And the British composer and writer Robin Holloway has written passionately and vitriolically about what he considers the grotesque overestimation of Shostakovich. [extracted from this post]
the mere reading of which makes my skin crawl, and initiates the beginnings of a murderous rage which, lucky for me, resolves itself ultimately into nothing more murderous than a prolonged bout of head-shaking and shoulder-shrugging?
Probably just me.