Dodens Grav said:
Music is not solely interpreted based on its creativity and originality, which has been proven countless times by people of reasonable intelligence actually enjoying music derivative of its predecessors.
Two thoughts:
1. Being "enjoyable" doesn't mean a piece has any sort of enduring value as a work of art. There are some fairly intelligent people out there who
enjoy Christina Aguilara's music, but this is a property independent of its artistic merit. My feeling is that, since there's lots of work out there that is of both enduring artistic merit
and enjoyable, so there's no reason to settle for something that's only fun.
2. Creativity doesn't require absolute innovation (that is, many creative artists have obvious influences). But creative artists don't simply recycle their influences by rote and they don't operate without a guiding vision of their own.
I don't see how the claim that there are "no 'good' riffs or leads or vocals" in light of the obvious fact that these qualities can be isolated and evaluated.
Certainly they can be evaluated in isolation, but only as to their technical aspects. You can't make qualitative judgments about an element of a work
as art independent of its total context. You can take a riff, describe its features, make judgments as to the skill with which it is executed, but you can't comment on its artistic value without putting it in a broader context. It's value lies in how it communicates content.
A particularly poor vocal performance will still be a particularly poor vocal performance regardless of the context.
Not true. A vocal performance
as an artistic element can only be evaluated in the context of the work in which it takes place, because its value will always be
relative to its purpose. You stick Bruce Dickinson on
Hvis lyset tar oss and that's a shit sucking vocal performance. You stick him on
The Chemical Wedding and it's brilliant. Context and content are the keys.