See, I was going to write something cranky about calling Rachmaninoff "Classical", but you surpass me in cranky pedantry.
If you're going to go for the cranky pedantry effect, never do it halfway. If either your crankiness or your pedantry is borderline on sane, people will take you seriously, flame you, and other undesirable results. However, if you go completely over the top, it's obvious then that you're just being cranky and unreasonable, probably on purpose, which carries different nuances.
However, if you're going to restrict "actual music" to being strictly contrapuntal,
Oh, I didn't mean that. I only restrict "actual music" to _containing_ counterpoint; it doesn't have to consist _entirely_ of it.
If you want to take that view, you're free to, of course, but you're missing out on a lot.
Yes, I'm missing out on a lot, but a lot of _what_? A lot of cheesy, unimpressive, simplistic, pathetic excuses for music, that's what. I don't have time to listen to all the really good music as often as I'd like to, so why would I want to waste time listening to junk?
(Technically, I'm exaggerating slightly. I do, in fact, listen to some music from other genres. But I find that too high a percentage of non-contrapunctal tracks bores me, and so I include generous amounts of baroque and other polyphonic works in my playlists. I can only listen to so many monomelodic tracks in a row without going crazy.)
"In adjectives, with the addition of inflectional endings, a changeable long vowel (Qamets or Tsere) in an open, propretonic syllable will reduce to Vocal Shewa. This type of change occurs when the open, pretonic syllable of the masculine singular adjective becomes propretonic with the addition of inflectional endings."
— Pratico & Van Pelt, BBHG, p68
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