The last thing I got to in theory before the break between Summer and Fall semester was Late Romantic theory. I start the fall semester this Monday coming up and I'll be getting more 2oth century theory than I could wish for I have questions about 2oth century theory though...
I have been reading some of the basic elements and vocab of the early 2oth century composition and I noticed that a lot of the rules that were drilled into my mind for counterpoint and such has kind of been thrown out the window in early 2oth century compositions and on. I'm pretty sure that twelve-tone serialism does not follow the rules of the tonal system, not sure since I haven't gotten there yet, but it would make sense.
Does 2oth century theory brush aside a lot of the tonal rules (if not all)?
How do you think that 2oth century theory ties into film score compositions of the past and esp. the present?
Overall, do you think that many of the film composers today care about the traditional rules and functions of tonal harmony or is it kind of like "Rules? What rules and who cares if it sounds good" type attitude?
When I speak of "rules" and "functions" I mean all the pre- 2oth century counterpoint rules (parallels, dircts, unequal 5ths, normal resolution of dominant harmonies, augmented chords, etc.) I do realize that a lot of composers in the late classical and romantic era began to break out of a lot of these practices, even Bach broke many rules. Any info and discussion is appreciated. Thanks!