More On the Relationship of Structure to Detail

I recently reflected on how Abby Whiteside’s book Indispensables in Piano Playing had helped bring into focus thoughts I had been toying with about the mapping of the structures of a body that plays music onto structures implicit in the music itself. The other set of thoughts she helped bring to the surface were about theoretical traditions in how we think about music.

Those of you with a background in academic music will recognise the distinction between structure and ornament, and the idea of shunting attentionally between different levels of structure (surface details to mid-range and longer-range processes) as belonging to the theoretical tradition generally taught in higher education under the banner of Schenkerian Analysis.

Listening Louder with the Sussex Harmonisers

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I spent a happy Saturday workshopping and coaching with the Sussex Harmonisers at the weekend. They have an interesting set-up: one club, with one board and music team, but two choruses, one male-voice, the other female-voice, which also currently share a director (though they haven’t always done so). The two choruses operate largely independently as ensembles, with separate rehearsal nights, but the shared infrastructure allows them to coordinate and collaborate on repertoire and performance plans.

Saturday was their first shared education event, and they devised a very effective model for it. In the morning, I worked with both choruses together in a workshop themed ‘The Listening Chorus’. Then after lunch, they took it in turns to have 45-minute sessions of coaching on songs from their respective repertoires, with the other chorus listening.

On the Relationship of Structure to Detail

Sometimes you find a thought sloshing around the back of your mind in an intriguing but unfocused way for quite a while, when suddenly you come across something that brings it sharply into focus. I’ve had a couple of these recently, both sparked by the same stimulus.

Towards the end of last year I read Donald Weed’s What You Think is What You Get, in which he makes a distinction between axial and appendicular functions in the skeleton, and, consequently, between postural and gestural dimensions of bodily use. This is in itself a useful concept to have to hand when learning motor skills. It is very easy to put all our attention on the bits that are specific to the task in hand ( e.g. conducting, playing piano, chopping onions, to take examples from my own life), whereas the success of these specialist, gestural movements is to a significant extent dependent upon how well we are managing the general, postural use of the self.

Musical Knowledge and Musical Enjoyment

I’m coming back today to a topic that Michael Callahan raised in response to my post about Practical Aesthetics earlier in the year, and which I noted as a big one that deserved separate reflection. The question is this: to what extent does an audience need to be informed to enjoy a performance?

Michael’s comment was framed, to match the post he was responding to, in terms of knowledge of musical aesthetics, but I think the question extends further to concern other aspects of musical knowledge: style, genre, technique. Do you have to understand what the musicians are doing in order to enjoy it?

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