Comments for Music in Trains

Comment on A New Sense of Direction by bob knupp

bob knupp — Mon, 11 Jan 2010 23:31:14 +0000

The only way to get to the core of Schenker is to read Schenker himself. He’s strange, but strangely insightful. To me, the value of the whole train (blog title..) of thought lies in the middleground: discovering large scale-connections (but not too large), and developing the intuition to musically convey to a listener the inherent cohesiveness of a work. In this way, large works (10min or more) can easily grasp the attention of a listener–if a performer becomes one with the music.

As far performers of new music: practice and discovery of music begins only after the notes are learned, period.

Comment on Can Parents Fill In When Schools Cut Music? by Jenna Graber

Jenna Graber — Thu, 03 Sep 2009 05:25:59 +0000

Music, like math, is universal…the more reason to KEEP it in the schools.

Comment on Pre-recorded? So, what? by Emily Williams

Emily Williams — Mon, 16 Feb 2009 23:00:59 +0000

While I would agree with your overall assessment that sometimes it doesn’t matter if the performance is live or recorded I didn’t think the reasons you stated from the performer’s point of view were very convincing.

If someone hires live music, they should understand that’s what they are going to get, glitches and all. If professional performers are going to be hired and the money spent on them should not those in attendence receive the live performance they paid for? However, I agree that in the case of the inauguration pre-recorded music was an ok option for the following reasons.

1) It was too cold outside for the performers to be able to execute their music well.
2) It was too cold outside for their instruments.

These are really the two most convincing arguments in my mind. Whether or not they might have missed a note here or there is not a consideration in my opinion. What constitutes a “sub-standard” performance anyway? Performers as much as anyone else are human, and so should be expected to make mistakes. It is true that CD’s hold performers to a high level of execution, but reality is that you can’t be expected to give a CD performance everytime. That’s part of what makes music enjoyable. The nuances here and there, even the imperfections make music speak to the heart. I have to say that I think I agree more with “the flip side” in most instances.

Comment on Who Needs Performers? by Pre-recorded? So, what? | Music in Trains

Pre-recorded? So, what? | Music in Trains — Sat, 14 Feb 2009 21:27:01 +0000

[...] I have written before in defense of live performers (“Who Needs Performers?”), I found the recent attacks on performers who used pre-recorded music rather lacking in substance. [...]

Comment on Premiere: You Are There by Mark Hutsko

Mark Hutsko — Tue, 20 Jan 2009 02:54:15 +0000

Ben is an awesome composer and this is a wonderful, warm, inspiring piece of music. I would recommend it to anyone. Thank you Ben for giving the folks at Jersey Baptist Church the opportunity to praise God through your music.

Comment on Who’s in Control? by From: The Performer | Music in Trains

From: The Performer | Music in Trains — Sun, 14 Dec 2008 02:06:43 +0000

[...] is not the first time I have written about the flexibility of scores (see Who’s in Control?), but it I thought it was worth bringing up again to post thoughts from a performer’s [...]

Comment on Classical Music’s Marketing Problem by From Conception to Execution | Music in Trains

From Conception to Execution | Music in Trains — Thu, 04 Dec 2008 18:15:51 +0000

[...] I suspect it may be related to the public not being quite sure what a composer actually does (see Classical Music’s Marketing Problem). Perhaps, if the public could recognize the dual role of conceptualizer/executer for both [...]

Comment on The Composer as Engraver by Daniel Wolf

Daniel Wolf — Mon, 18 Aug 2008 10:24:41 +0000

Thanks for the mention. Georgia is very nice; too bad that it’s only a screen font.

Comment on Who’s in Control? by Emily Williams

Emily Williams — Sat, 12 Jul 2008 16:58:21 +0000

One other thought concering tempo markings….think about Beethoven. He has concrete metronome markings in all of his scores…..however, common performance practice dictates that these do not need to be adhered to. I like this quote from Roger Norrington, “…tempo indications, like all other expressive markings, are meant to guide and inspire the performers, not dictate to them.” Maybe, just maybe, there are inspired performers/conductors/etc. out there that could enhance a composer’s work….but will modern composers allow them?

Comment on Premiere: You Are There by Emily Williams

Emily Williams — Mon, 30 Jun 2008 17:42:16 +0000

Cool.