I enjoyed reading your post, it has some interesting ideas in it about language. I can only point out a couple of things.
Why is it necessary to explain things in a merit basis? The world would be a way cooler place if everything ran on merit, sure, but I hope you understand that that isn't the reality we're stuck in. I think you compromised the legitimacy of your argument by not entertaining non-merit alternatives.
Are you a student of music theory? I have some complicated feelings about the theory that stem from an observation of how many aspiring musicians end up hobbling their own talent by treating the theory as gospel. I can't say the theory is wrong, but I can't say it's right very easily (especially when you have big successes like The Protomen who actively tried to do everything their music teachers said not to do). I'm not trying to lump you in there, but I have to ask because some of the stuff you said about your experience in song writing make me think you're totally unaware of experimental genres or even progressive music. I want to emphasize the progressive genre here because it's pretty much based around playing with rhythm and meter (and I am 100% sure you've heard bands that failed to do this while being labeled progressive, because it's common).
I'm normally an album listener, so I apologize if you hit a poor example with these (as each has multiple albums I discarded): Dream Theater [I consider them to be masters of musical transition and a great example of what music theory can accomplish], King Crimson, Genesis (Peter Gabriel era). I miraculously even found a modern one-off example in Native Construct. You might not hear many examples of interesting meter from those, but at least the complexity of the music should express a basis for my point.
I thought it'd be rude to cite examples unprompted, so I tried to avoid it.
I enjoyed reading your post, it has some interesting ideas in it about language. I can only point out a couple of things.
Why is it necessary to explain things in a merit basis? The world would be a way cooler place if everything ran on merit, sure, but I hope you understand that that isn't the reality we're stuck in. I think you compromised the legitimacy of your argument by not entertaining non-merit alternatives.
Are you a student of music theory? I have some complicated feelings about the theory that stem from an observation of how many aspiring musicians end up hobbling their own talent by treating the theory as gospel. I can't say the theory is wrong, but I can't say it's right very easily (especially when you have big successes like The Protomen who actively tried to do everything their music teachers said not to do). I'm not trying to lump you in there, but I have to ask because some of the stuff you said about your experience in song writing make me think you're totally unaware of experimental genres or even progressive music. I want to emphasize the progressive genre here because it's pretty much based around playing with rhythm and meter (and I am 100% sure you've heard bands that failed to do this while being labeled progressive, because it's common).
I'm normally an album listener, so I apologize if you hit a poor example with these (as each has multiple albums I discarded): Dream Theater [I consider them to be masters of musical transition and a great example of what music theory can accomplish], King Crimson, Genesis (Peter Gabriel era). I miraculously even found a modern one-off example in Native Construct. You might not hear many examples of interesting meter from those, but at least the complexity of the music should express a basis for my point.
I thought it'd be rude to cite examples unprompted, so I tried to avoid it.
Cool, glad to hear. I hope they can also serve as useful data sets for you outside of regular musical enjoyment.