Greypins@a... wrote:
Greypins@a... wrote:
>
> In a message dated 4/20/2001 5:56:17 AM Eastern Daylight Time,
> linda@f... writes:
>
> << Maybe we should start to consider whether the composer's music is a
> vehicle for our performance, or whether our performance is a vehicle for
> the composer's music. >>
>
> can't it be both? actually, it already is. there exists, in the
> performance practice of 'classical' music, the notion that the composer is
> infallible. under this notion, the performer's task is to be enslaved by
> the composer's intentions. i'm sure there are a few of you who might object
> to my wording but i ask you, where would you allow liberties? one might say
> there are decisions to be made where the flaws of notation have made the
> composer's intent vague. the purist, however, sees these passages as
> problems to be solved, still along the guidelines of the composer's intent,
> as opposed to being oppurtunities to 'go crazy'.
Good point, Mike, though this wasn't really why I wrote that; it was jus
that there seemed to be a general feel about Alma T's (hypothetical)
assertion, that the performer was the be-all and end-all of what was
being given to the audience - in certain styles, a lot of rock for
instance, that is of course the case, since I think the majority of
performers _are_ also the composers except in second-rate cover bands;
but the performer is also a channel, a bit like a medium, if you like. I
just felt that part of the role was being discounted.
>
> on the other hand, in a 'live' performance of his song 'flor de lis',
> the brazilian pop singer djavan is joined enthusiastically by the audience.
> as the song goes on, djavan starts the phrases with the audience and then
> starts singing embellished accompaniments (a pseudo descant) while the
> audience continues with the original phrase. this would be composer as
> performer, audience as performer (performer/arranger?
> performer/orchestrator? ), composer/performer as audience,
> composer/performer/audience as re-composer/performer, turning the triangle
> into an ascending zig-zag (isn't that a brand of rolling papers?).
>
:-) Wonderful! Imagine a Bach performance going that way? Sounds like a
brilliant film scene where maybe the kids feel their professor is just
too dull and boring and unadventurous and not open to new ideas?
> despite my obvious prejudices,
You don't have prejudices, Mike, you know what's right. It's the next
man who has prejudices; while him over there, he is just bigoted. (hmm -
sounds better starting in the first person)
> i hope i have made the point that the
> roles of composer, performer and audience take various forms already.
> different styles seem to shift the power in the triangle.
Yes, of course, but wasn't all this discussion predominantly from the
classical viewpoint? All the same, that is a very interesting point.
cheers,
Linda
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