Rob Tuley wrote: ↑
Thu Jul 16, 2020 3:08 pm
alindsay55661 wrote: ↑
Fri May 29, 2020 12:25 am
... until you finally get to the writers that need to experience near-human performance before they can liberate the music inside them...
Others might disagree, but I don't believe such people exist.
There may be people who think
they need that to "liberate the music inside them," but the real test is whether anyone else
thinks their music was worth liberating.
Let me phrase this another way. Consider much of the vocal music that comes from tribal regions and is created and passed down through oral tradition. If these groups were not allowed to sing as part of the composition process, and instead had to compose parts using a piano, another pitched instrument or just their mind, I am suggesting we would not enjoy much of the rich soul, melodies and harmonies of African and Polynesian chants and spirituals. There is process that occurs when the real thing is brought together and you are exposed to texture, tone, depth, presence and a number of other things beyond pitch, tempo and dynamics. Pitch, tempo and dynamics are not the exclusive informers of worthy music. That is why two groups performing the same number yeild completely different audience reactions.
You may disagree on this point as well, but there is a body of soundscape infused/inspired music that has its place and successfully moves people emotionally, makes them laugh, cry, feel relief, etc. and some of it can only be discovered through actual performance. How do these artists discover and write their expressions without the real thing? The same is true for music with electronic elements... the growl of a snyth, frequency of a sub bass and punchiness of a lead are all critical to the expression, and these elements are often difficult to discover and settle upon without experiencing the real thing and then recognizing
: "yes, that is the expression I want to liberate".
And finally, consider the more traditional improvisation we are already cozy with in notation software. Just put a few slashes and let someone do their thing. This gets directly at the heart of liberating the music within only by experiencing it. Lots of written music and hit tunes have come out of improvisation sessions. I am suggesting these improvisation sessions are liberating in part because they are as close to the real thing as you can get, they are the real thing. If we restricted improvisation sessions for all music to just a piano, I am suggesting you would liberate less and some people would be unable to liberate anything at all despite having an expression within that others would deem completely worthy and desirable.