By Roger Sessions
One of America's most efficient modern composers, professor of tune on the college of California, Roger classes right here discusses the musical event of the composer, the performer, the listener. He believes this event to be shared, on during which all 3 members play very important roles, and during this ebook he speaks specially to the listener.
Mr. periods unearths that the artist-public relationships has been shifted to that of manufacturer and purchaser in huge company. yet his respond to his personal query a couple of probability to the way forward for track is either a problem and an expression of desire. a desirable little e-book that would be learn with excitement by means of humans in any respect degrees of musical education.
Originally released in 1950.
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Extra resources for Musical Experience of Composer, Performer, Listener
The same is true in regard to articulation, dynamic shading, accent, and, obviously, pitch and tone quality. The point is that in music it is the gesture and the inflection that are expressive, therefore definite and controlled to the most minute degree of refinement. The gesture is, in other words, in the foreground, whereas in literature, the words in their specific sense, evocative, associative, and even sonorous, bear the expressive burden. One must not demand from one medium what can be better and more efficiently furnished by another.
Such a claim seemed to them more than miraculous and they regarded as impossibly arrogant, not to say fraudulent, my claim that I was the seeming miracle man who could accomplish it, even though they themselves would not have accepted even as mildly humorous a suggestion that perhaps they ought to read their poems aloud in order to make sure that the rhymes were correct! Musical Ear" cian, even the musical genius, are possessed by the human race as a whole; they are not the peculiar property of musically gifted people nor are they, some educational theorists to the contrary notwithstanding, indications or criteria of musical ability.
130, in which the themes are of obviously secondary importance to the movement and structure as a whole. I am not even referring to works of a certain typemany Preludes of Bach or certain Etudes of Chopin might be taken as examples-which are not thematic in any possible sense of the word, or in which the musical idea lies in what we may call pure structure. It might be worth noting also that these same works are so frequently and so obviousl y full of passionate expression: I mention this in order to emphasize that "structure" and "passion" are not in any sense mutually exclusive as is sometimes assumed, but that the one may, when the occasion demands, be the very essence of the other.
Musical Experience of Composer, Performer, Listener by Roger Sessions