29. April 2015

If we follow the historical pathway of music-culture's compositions through the centuries, we find its time-structures developing to more and more complicated textures, which, as a consequence, are more and more difficult to grasp for listeners. We refer to late 19th century, when high-lifted rituals of articial music had gone astray in enhanced processes of autonomization which left the "low" music, just made for entertainment, far behind their own practices. Of course, we have to diagnose a...

21. April 2015

You grasp notated music if you can play with it Is musical improvisation a must for any professionally skilled musician? Meaning a must for classical musicians, too? Or is it a more or less pointless effort for interpreters of classical music to laboriously play around with all these pre-built phrases they would have to learn to get into something sounding like good improvisation? Something, which is, on top of that, quite rigidly bound to genres like Baroque, Jazz or Blues? Hence, in such a...

15. April 2015

What play does a musician play as an interpreter of a musical composition of the classical music's culture? Is it about expressing his own role in a determined cultural play about obviously old-fashioned musical styles? Or is it even still possible to speak about the musical 'self' with all attached emotions, like in Pop and Jazz? And could this interpreter do so in aiming at a brilliantly witty version of the interpreted composition? Or is a non-trivial self-expression only the result of...