This is just my opinion, at any given time "90% of everything is crap" is true in general but I threw this out specifically as a response to this thread.
Many of us are listening to something from the 10% of the 50s, 60s, 70s, 80s, etc. or the present. I don't believe that more "new music sucks" any more than more "old music" does. In other words, there is definitely new music that's worth hearing but probably about 10% will stand the test of time.
I'd venture that approximately the same percentage holds true for the Baroque or Romantic periods. Not everyone was a Handel, Mozart, Beethoven, Brahms or Schubert and there's plenty of obscure, forgotten repertoire in existence.
However, the fact that repertoire is forgotten or obscure may not alone relegate music to the 90%. Other factors, such as geographic isolation or a reclusive composer, could have been responsible. Such music could achieve a place in the 10% upon initial assessment or reassessment at a different time. Conversely many once extremely popular composers are almost unheard of today.
Again, I'm throwing this out to illustrate that the "90%" axiom is not absolute and may change with time, place and new or different perspectives.
Many of us are listening to something from the 10% of the 50s, 60s, 70s, 80s, etc. or the present. I don't believe that more "new music sucks" any more than more "old music" does. In other words, there is definitely new music that's worth hearing but probably about 10% will stand the test of time.
I'd venture that approximately the same percentage holds true for the Baroque or Romantic periods. Not everyone was a Handel, Mozart, Beethoven, Brahms or Schubert and there's plenty of obscure, forgotten repertoire in existence.
However, the fact that repertoire is forgotten or obscure may not alone relegate music to the 90%. Other factors, such as geographic isolation or a reclusive composer, could have been responsible. Such music could achieve a place in the 10% upon initial assessment or reassessment at a different time. Conversely many once extremely popular composers are almost unheard of today.
Again, I'm throwing this out to illustrate that the "90%" axiom is not absolute and may change with time, place and new or different perspectives.