Are over-the-top responses to performances sincere expressions of aesthetic pleasure or manifestations of emotional states that are far more complex?
Is interpretation something that we can foster in a player or is it innate?
The Titanic may be sinking, but this is the best part of the movie.
Why do the Japanese feel the need to import all the Western culture, something that might be called Tokyo Syndrome, and do we suffer as well from our own type of Tokyo Syndrome as well?
When difficult artists write cleaner music, does it represent a welcome clarification or a huge step backwards?
Everywhere I went in Charleston last week, I was reminded of Spoleto.
There still is still a Berlin Wall between composers (and their representatives) and the community of non-professional/student players; we do not have a way to communicate to them and they do not have a way to find us.
Though I suspect many of you would prefer the music that way, and maybe it’s time we all stopped apologizing for it.
Given the lengthy relationship between music and booze, it’s amazing that there hasn’t been a thoroughly researched book or article on the subject and how it relates to modern composition.
Harmonic organization is only a small (and shrinking) part of how most of us hear music now. The presence or absence of a steady pulse, for example, is easily as significant as the presence or absence of a tonic among today’s listeners.