Sequence previous post.
This means that the music does not exist or can exist in its entirety. Their very existence requires its own future. The entire song can only be subjective, it is the result of a subjective construction process, whose success, moreover, is not free. It is precisely this necessary intervention of the subject in the constitution of music as a whole that will give the "knowing" a decisive role in music appreciation.
The best way of approaching the question is to ask ourselves what kind of this is knowledge. Reject, at least today (I believe this issue is much more delicate than the way I was able to present here) and answer any kind of technical knowledge, regarding the handling of instruments, theoretical knowledge needed in the composition or even knowledge regarding the history of music.
The peculiarity of this knowledge is particularly what helps the viewer to understand the song in its entirety, that is what enables the perception of your shape. The notion of form, therefore, plays a central role, and should be carefully explored. Without realizing the formal structure of music can not appreciate it, although it can of course wonder with passages taken in isolation or particular elements, but this is not the real taste.
is precisely the way the horizon that guides the whole attitude about the music business. Those who wish to seek commercial success, in particular, the ideal way trade, which is characterized by the greatest possible degree of intelligibility, that is, music should be successful, firstly, an intelligible form.
Michael Jackson and his record company led to this idea latest consequences, developing a formula by which it produces, almost serial, music commercially effective. The essential structures have been consolidated so strongly throughout the story, and remains present in the constitution of mass music. One of these features can be roughly presented as follows: Introduction, Part A, Part B may, chorus, solo, chorus, conclusion. The memory of man leads this formula. Music can not be greater than the ability to memorize it in the first contact, the need for efforts to listen to it two or three times is not feasible, is the proper sentence to failure. As is obvious, repetition is key to memory, so that the chorus should be systematically repeated. All this, however, may not be evident, it is still necessary to have a kind of different terms: those that lead people to take pride in their own tastes, so we must include also an instrumental passage, if possible by playing the melody of the chorus itself.
Another important formal character to stand out is the presence of a sharp boundary between melody and accompaniment. The melody carries the entire identity of the music, while the accompaniment is given the task of making it pleasant and attractive. This feature is particularly revealing because it is deeply rooted in how we understand music, so their identification is not possible without first overcoming the concealment of birth. It has been consolidated so strongly think that this second song structure became quite intuitive, the passivity with which we receive this structure is the very mark of its absolute success. The radical opposition between these two poles, melody and accompaniment, became the standard way with the music that we receive. The radical origins of this form of the idea, unfortunately the majority, that the voice has a priority compared to other instruments, whose task is limited to merely sustain it.
There is no relevant justification for the election of these formal structures, as more songs are created from it, the more it is played, the more natural it becomes more and your reception will be guaranteed its success. Perhaps the most acceptable explanation is found in human psychology: the tendency to stay with what is already known.
In an attempt to retake the character more philosophical text, we turn to investigate the notion of form.
The avant-garde music is the best example that I thought to represent the formal independence in relation to market requirements.
0 comments:
Post a Comment