- Part of 'A topology of musical encounter' (summary) -
“I think there are three things working with me: my ears, my mind and my fingers. One of the reasons I work at the piano is because it slows me down and you can hear the time element much more, the acoustic reality. I am guided intuitively from the one sound to the next.”
- Morton Feldman about musical creation
A musical encounter is born out of the personal spheres of musicians connecting in a collective sphere. Up until the point of physical encounter this collective can exist as a concept, an imagination about what this coming together could lead to. Certainly the actuality of musicians making sound together will provide unknown insights in the musical reality of this collective that are impossible to understand beforehand. It is always refreshing to move from a conception of music to the actuality of sounds. This is because the nature of musical imagination and musical reality are essentially different.
The experience of music in the personal imagination can be compared to the quality of an image, a complete and unchangeable eternity. In an instant, one comprehends a complete oeuvre, a composition, a phrase or one single sound. The music is experienced in an overview, like you become aware of the totality of a room as soon as you enter it - every aspect of it is spread out before you as a ‘still‘. The actuality of sound is in conflict with this musical imagination, it gains and loses its shape parallel to the unfolding of time, and is only constructed together again in the reality of the listeners mind. Yet this imaginative musical perception and actual physical musical existence form together a whole that only by the recurring alternation of these two forces can carry out the true essence of music.
The musical creation is born out of this friction between knowledge and imagination of sounds that is carefully considered beforehand, and the fluid reality of the time in which the music will actually take place. This has equal implications on the practical level of the musical creation. Even the most talented musicians with the greatest musical imagination will only experiences the true reality of their musical intentions at the instant they are confronted with the sounding result. This is where the musical experience becomes whole, and a true insight in what is happening is gained. Only from that moment the musician can find the right direction. In other words - the interrelation of the personal imaginative reality of music and the sounding musical reality is fundamental for the development of musical quality.
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