- Part of 'A topology of musical encounter' (summary) -
When investigating the relation between the individual and the collective, between abstractions and the reality of sound, the delicate border between musical success and failure, we gain insight in the complexity and fragility of the musical encounter. From the moment the musicians enter the space to collaborate, all of those considerations need to be materialized in one simple and concrete starting point. I would emphasize to detect in an early stage the complexity of the initial idea, and perceive it as a warning. It can be a first sign of artistic problems that will arise in the process eventually. If a collaboration starts with several or too complex ideas, the steps that one necessarily has to take afterward to guide the process into perspective will be too complicated. After a careful process of investigation has led to a clear starting point the headwork is done, and we should dare to depend more on our ears. In the context of a new and yet unknown musical encounter our ears will know more at the moment we hear the encounter than anything we could formulate about it before.
“We have forgotten to observe. Instead of observing, we do things according to patterns"
- Andrei Tarkovski – The sealed time
Matter over mind – this is one of the essential realizations in the analysis of musical encounter. Although we need a thorough application of the mind to analyze and understand the process and its implications towards society, the sounding reality proves not to solve problems conceptually. What we need for a musical innovation is real-time sound research with musicians present in the space. The formulation of a musical concept should be the result of this interaction and not precede the reality of the unique togetherness of the musicians. If one follows this process with care and with patience, I am convinced the right direction in a musical encounter will naturally present itself. In general I state that simple ideas are the only basis for a promising musical encounter. The real complications will most definitely occur in the musical reality, where the sound gains actuality. We need a complete confidence and clarity of a musical idea to be able to overcome these confrontations, and being able to shape the actuality of sounds collectively into a musical experience that one has never heard before.
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