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→Typology
Remarkably, Richard Halley survives, and even thrives, because he finds a wealthy patron, i.e., [[Midas Mulligan]]. Most classical composers had such a patron-client relationship, either with royalty or with nobility. Those who did not, very often lived and died poor. Yet their music endures despite that, and is no greater, nor less great, for having been written in a context of suffering.
Remarkably, Richard Halley survives, and even thrives, because he finds a wealthy patron, i.e., [[Midas Mulligan]]. Most classical composers had such a patron-client relationship, either with royalty or with nobility. Those who did not, very often lived and died poor. Yet their music endures despite that, and is no greater, nor less great, for having been written in a context of suffering.
== Actual music style ==
The actual music style that [[Ayn Rand]] had in mind as the style in which Richard Halley composed is never described in the novel. But [[Barbara Branden]]'s biography of Rand contains multiple hints. Early in her life back in [[Russia]], Rand once heard a marching tune that she fell in love with, almost to the point of obsession. To anyone who asked her about it, she gave it the name "tiddlywink music," and never once tried to describe, in the context of her [[philosophy]], why she appreciated it.<ref name=Branden>Branden B, ''The Passion of Ayn Rand''</ref>
== References ==
== References ==