Robert Lingnau / 2007/02/05 / 01:17 PM wrote:

>Music Theory, maybe throughout history, is and was always a result of
>analizing, closely watching at and listening to what other people
>already *did*. A rule did not neccessarily apply to them, as theory
>was always sort of later than the actual works theory dealt with. So
>what is does is to afterwards find out why certain horizontal /
>vertical elements of music actually sound good, for example. It's not
>too much of a law, just knowledge passed over to many generations.
>Plus, times are changing, music changes, and so does theory, depending
>on the style someone's writing in.

Right, and these new styles too will be studied as time goes by.  Jazz
music doesn't have that kind of history yet, other than those which came
from classical music history.  My point was that theory is a tool.  If
you don't have it then it is your loss, just like you may be missing
some complicated use of certain Finale functions (are we on-topic
yet? :-) which happens to me when new version adds different shortcuts
and changes menu items (aghr!).

>In the end, the ear and individual flavour
>judges whether something is "wrong" or "right". To me, as a jazz
>musician, Free Jazz sounds wrong (just my personal taste), no matter
>how hard they repeatedly hit the notes on their horn to convince me of
>their coice of notes.

Around beginning of 90s, I was invited to play free jazz with local
musicians in Berlin twice.  The fist concert, they sent me an amazing
tenor player.  We just kept playing, interacting each other forgetting
how much time it has passed.  The audience loved it.  I am so sorry I
can't remember his name.  The second time they brought me, they sent me
an ensemble.  It was a disappointment since those musicians seems to
chose to play avant-garde style because they are not skillful enough to
play other styles of music, at least that's how I felt at that time.

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
<http://a-no-ne.com> <http://anonemusic.com>


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