I'm surprised nobody called you on this
When did Pink Floyd ever write a modal melody that blossomed into florid counterpoint
The Great Gig in the Sky is in dorian mode that wonderfully mirrors the dorian in one of the previous songs in the album, Breathe, but then, towards the end, it seamlessly turns into a sweet ionian melody that ends the otherwise conflicted piece in a soothing tone.
or discovered a way to make the D triad follow the C# triad, through a harmonic intensification of a melodic element
While I wouldn't say they 'discovered' it, a succession of triads in that interval is not that uncommon. You'll find it in Money on the same album for example
Or when do you see anything even remotely close to the technique of taking a tune or theme and successively chipping it away to motivic nothings?
Too many examples. The whole Dark Side of the Moon is variations on the same tune. The tune is especially aggressively deconstructed in the song Money.
Even a minor composer from 18th century Bohemia, Zdenek Fibich, showed more harmonic creativity than Bruce Springsteen. I mean, have you actually listened to "Born in the USA?" The monotonous repetitions are so tiring.
Yes, as far as I know, Bruce Springsteen is musically not very interesting. But if you can't see the difference between him and Lady Gaga and Pink Floyd, then you know nothing about modern music
But while we are at it - when was the last time your Beethoven integrated ambient sounds seamlessly into his music, like Pink Floyd did with cash register sounds that they wowed sublimely into a 7/4 beat of the song Money (that later erupts in a 4/4 swing guitar solo)? When did he play with the color and the texture of the sound the way modern artists do ever since the early jazz times? When did he use intricate polyrythms with counter-beats - did he even use ONE syncopation in his work? His music is just flat!
