ความคิดเห็นที่ 4
The last sound is not the end of the music. If the first note is related to the silence that precedes it, then the last note must be related to the silence that follows it. This is why it is so disruptive when an enthusiastic audience applauds before the final sound has died away, because there is one last moment of expressivity, which is precisely the relationship between the end of the sound and the beginning of the silence that follows it. In this respect music is a mirror of life, because both start and end in nothing. Furthermore, when playing music it is possible to achieve a unique state of peace, partly due to the fact that one can control, through sound, the relationship between life and death, a power that obviously is not bestowed upon human beings in life. Since every note produced by a human being has a human quality, there is a feeling of death with the end of each one, and through that experience there is a transcendence of all the emotions that these notes can have in their short lives; in a way one is in direct contact with timelessness. When I finish playing one of the books of The Well-Tempered Clavier in one evening, I have the feeling that this is actually much longer than my real life, that I have been on a journey through history, one that begins and ends in silence.
One way of preparing silence is to create a tremendous amount of tension preceding it, so that the silence arrives only after the absolute height of intensity and volume has been reached. Another way of approaching silence entails a gradual diminution of sound, letting the music become so soft that the next possible step can only be silence. Silence, in other words, can be louder than the maximum and softer than the minimum. Total silence exists, of course, also within a composition. It is temporary death, followed by the ability to revive, to begin life anew. In this way music is more than a mirror of life; it is enriched by the metaphysical dimension of sound, which gives it the possibility to transcend physical, human limitations. In the world of sound, even death is not necessarily final.
It is obvious that if a sound has a beginning and a duration, it also has an end, whether dying or giving way to the next note. Notes that follow each other operate clearly within the inevitable passage of time. Expressiveness in music comes from linking the notes, what we call in Italian legato, which means nothing other than bound. This dictates that the notes cannot be allowed to develop their natural egos, becoming so dominant that they overshadow the preceding one. Each note must be aware of itself but also of its own boundaries; the same rules that apply to individuals in society apply to notes in music as well. When one plays five legato notes, each fights against the power of silence that wants to take its life, and therefore stands in relation to the notes that precede and follow it. Each note cannot be self-assertive, wanting to be louder than the notes preceding it; if it did, it would defy the nature of the phrase to which it belongs. A musician must possess the capacity to group notes. This very simple fact has taught me the relationship between an individual and a group. It is necessary for the human being to contribute to society in a very individual way; this makes the whole much larger than the sum of its parts. Individuality and collectivism need not be mutually exclusive; in fact, together they are capable of enhancing human existence.
The content of music can only be articulated through sound. As we have already seen, any verbalization is nothing but a description of our subjectivemaybe even haphazardreaction to the music. But the fact that the content of music cannot be articulated in words does not, of course, mean that it has no content; if that were the case, musical performances would be totally unnecessary and it would be unthinkable to be interested in composers such as Bach who lived several centuries ago. Nevertheless, we must never stop asking ourselves what exactly the content of music is, this intangible substance that is expressible only through sound. It cannot be defined as having merely a mathematical, a poetic, or a sensual content. It is all those things and much more. It has to do with the condition of being human, since the music is written and performed by human beings who express their innermost thoughts, feelings, impressions and observations. This is true of all music regardless of the period in which composers lived and the obvious stylistic differences between them. For example, three hundred years separate Bach and Boulez, yet both created worlds which we, as performers and listeners, render contemporary. The condition of being human can obviously be as large or as small as the human being chooses it to be, and one could say the same of composition itself.
The renowned conductor Sergiu Celibidache said that music does not become something, but that something may become music. He meant that the difference between soundjust pure sound or a collection of soundsand music is that, when one makes music, all the elements have to be integrated into an organic whole. There are no independent elements in music rhythm is not independent of melody, melody is obviously not independent of harmony and not even tempo is an independent phenomenon. We tend to think that because some composers give us metronome markings, all we have to do is to try to squeeze all the notes and their expression into a certain speed, forgetting that one does not actually hear tempo, one only hears the music at a given speed. If the tempo is too fast, the content is incomprehensible because of the performers inability to play all the notes clearly or the listeners inability to grasp them; if the tempo is too slow it is equally incomprehensible, because neither the performer nor the listener is able to perceive all the relationships between the notes.
Richard Wagner wrote in his 1869 treatise On Conducting that the right comprehension of the melos is the sole guide to the right tempo; these two things are inseparable: the one implies and qualifies the other. As a proof of my assertion that the majority of performances of instrumental music with us are faulty it is sufficient to point out that our conductors so frequently fail to find the true tempo because they are ignorant of singing. Describing the difference between the character of the Adagio and the Allegro movements in Beethoven symphonies, he continues, the slow emanations of pure tone on the one hand [in reference to the Adagio], and the most rapid figurated movement on the other [in the Allegro], are subject to ideal limits only, and in both directions the law of beauty is the sole measure of what is possible. The law of beauty establishes the point of contact at which the opposite extremes tend to meet and to unite.
Interestingly, Wagner speaks not of melody but of the melos. The word melos makes its first appearance in the poetry of the Archilochos of Paros in the seventh century BC; there it refers to a choral song. Later Plato defined melos as the synthesis of word, tonality and rhythm, whereas Aristotles definition was closer to our own understanding of melody. In Politics he names three different varieties of mele: the ethical, the practical, and the ecstatic. Wagner teaches us that the melos is the sole criterion for choosing the right tempo, which means that the decision about the correct tempo is not dependent on an outside factor such as the metronome and, just as important, that it is the last decision a musician should take. Only after observation of all the elements inherent in the musics content can he determine the speed with which these can be expressed. Therefore, a decision taken too early makes one a slave of the tempo, whereas a decision taken at the end of the learning process takes all factors into consideration. Like so many things in life, the rightness of a decision is inevitably linked to the moment in which it is made.
The understanding of the interdependence of different elements in music requires an understanding of the relationship between space and time, or, in other words, the relationship between subject matter and speed. Speed, or tempo, which may seem to be outside the music itself, is also not independent. The relationship between the texture and the volume of the sound on the one hand and the audible transparency of the music on the other determines the correct speed. In tonal music, to explain the system of music used in between 1600-1900 and in most of todays popular music, it is necessary to understand that rhythm, melody and harmony may move at different speeds. It is possible to conceive of infinite variations of rhythm without any change of harmony, but it is inconceivable for the harmony to move without affecting a change both in the melody and the rhythm. This trinity of rhythm, melody and harmony highlights the necessity for an individual point of view, not unlike a film director positioning the camera so that it has a point that views the situation as he sees fit. Nietzsche said they there are no truths, but only interpretations, but music does not need interpretation. It needs observation of the written musical notation, control of its physical realization and a musicians capacity to become one with the work of another.
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BlueWhiteRed
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13 ธ.ค. 51 11:54:23
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