Tuesday, May 16, 2017

Musical Assumption #1

I gave this title to a piece (now discarded) of electronic music I wrote for an electronic music class. I liked the title more than the piece, and the "Musical Assumptions" part of the title has a much better "life" as the title of this blog.

Now that this blog is in its second decade, I guess it is time to make, as adolescents often do, some assumptions. Here begins a series of assumptions about the musical world that might matter to someone other than me. Feel free to disagree. As my brother Marshall used to say, "When you assume you make an ass out of u and me."

Musical Assumption #1

Musicians in the 21st century can still engage in musical discourse almost exactly the way they engaged in the 17th, 18th, 19th, and 20th centuries when playing notated music of the time.

The instruments we play in modern times are less problematic, and we do have the undeniable benefits of climate control (heating and cooling), accessibility (the IMSLP, for example), recordings for reference and for rehearsal, ergonomic devices, indoor plumbing, comfortable clothing, instant communication (which helps for setting up rehearsals), and photocopy machines, computers, and printers.

Still, when it comes to figuring out what bowing or bow stroke to use, how to tune and balance a chord, or how to decide something about phrase direction, we are still faced with the same choices as musicians throughout time (and space). Nothing of modern life can really interfere with or add to the musical situation at hand. It is all there for us as it was for the string players who worked at Esterhazy.

When we play Haydn quartets that are clearly meant for the entertainment of the musicians playing them, we chuckle at the same bits of musical humor that our musical ancestors did. These "secret signs" unify our musical "species" across the centuries, and transcend cultural boundaries.

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