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192
Chapter 9
something else entirely. [...] It can be the same sentence, but if somebody
thinks and says it to you at the same time, it’s completely different to if
they would read out this sentence and be somewhere else in their thoughts.
Another question of taste, honesty was valued to greater or lesser degrees by different
musicians, and some prized the unfaltering preservation of ‘strength’ above the creation
of a ‘beautiful’ musical outcome, whereas others compromised their personal freedom of
expression to obtain more unified collective results.26
Jan Roder told me how:
That really keeps it fresh, if you have people who really don’t think “Ah that worked - like we did it last time. That worked, so we have to do it again,
that way.” But to go there and just enjoy the moment in whatever state of
mind you are [in], and start with a conversation or with the communication,
and do something and build something out of now, and not out of [something]
preconcepted [sic] or a concept that you have of how the evening should be.
And, in a particularly extreme example, which described one of his favourite groups
and showed the extent to which he valued this honesty, he went on:
We have [Musician 1 - he] is very steady in a way - always high quality,
very good player, very ‘there’, in the moment. [Musician 2] - very up and
down, depending on the amount of alcohol, and [Musician 3, who] is totally,
incredibly moody if he plays free. It could be that he comes angry about
something, and then, [in] the first set he only plays as loud as possible, or
he comes and he’s just [quietly sings the fluttering sound of gentle swing
brushes on a snare drum]. It cannot work!
26
See p. 163.
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