Improvised music is dead?
music, as art of the time, dying at the end of each interpretation of a work, whether it be written or improvised changes nothing. Once we finished playing, the music continues to live, except in our memories, unless it is recorded or transcribed from memory or by listening to a recording, which case, we can revive him momentarily, the time to listen to a disc or an interpretation, not longer.
The music is not static unlike a work of art, more or less immortal, but only for a short lives, the time it played any more. It is therefore difficult to speculate on the value of music.
Improvised music is music for all music from an improvisation, even if it sometimes comes down to improvise a pattern of some notes and then to construct on this basis, a whole symphony.
Improvisation is equal to the inspiration and everybody understands that it is not without inspiration from musical work worthy of the name.
Improvisation is experimental and it allows you to find new musical language that will be fixed or not and codified by the writing and composition.
Improvisation is life. Life is improvisation. All our lives we improvise our lives.
Many composers of the past have been renowned improvisers, Bach, Mozart, Beethoven, Schubert, Saint-Saens, Chopin, Messiaen, ... to name a few.
Many improvisers are current composers and there is no reason to doubt the relationship between these two musical acts such as improvisation and composition, or to raise any of these acts in- top other. The real-time composing improvisers, composers Delayed. The rest is just pointless and unhealthy quarrel.
Writing music, be it remembered, was invented to serve as a reminder to musicians, so they remember tunes, can record their musical ideas and share their knowledge with other musicians .
claim that improvisation is dead is like saying that music is dead!
A music died when no one's cheek, but she can be reborn as a musician the replays.
Music Bach has hardly been played more since his death (that of Bach, not her music) until the Romantic era. Was she dead so far?
Many early music compositions were revived in the twentieth century when they were, for the most part been forgotten for centuries and no critic or music journalist had predicted their resurrection.
One characteristic of our times is that we play more music of composers who died that living composers, apart from composers of music entertainment. This observation leads
two questions: Why
music by composers who died is it more than performed living composers?
How is it that the composers of music entertainment that are most frequently performed composers died over 50 years?
The reasons are unfortunately more financial and aesthetic:
Contemporary composers are protected by copyright and cultural promoters are reluctant to take risks in programming contemporary composer, particularly since they must pay charges of up to 10% of the total budget. They prefer Composers Programme "proven" and whose works are not protected. They are a dual economy.
industry music entertainment is based on patterns that are, by definition, ephemeral.
and improvised music in all this?
Improvised music is not a marketable product: You can, of course, concert recordings, burn discs and flood the market with discs of improvised music, but it is totally contrary to the spirit of improvisation reproduced identically, at a concert, an improvisation passed.
Now the music industry is formatted using the same models as the industry itself:
reproduce identically and inexpensively deliver products to please many and whose life is as short as possible . Our consumer society is based on this scheme and we have not yet measured the extent of environmental damage and human generated by this mad rush for profits. Global warming will have consequences that begins that no one can imagine.
and improvised music in all this? By refusing
to enter the industrial plan, improvised music is still and always a protest movement, as in the '60s, nothing has changed!
Improvised music has simply adapted by adding new components such as the use of electronics or technology and contemporary languages, themselves often improvised from experiments. The feedback loop thus formed and the mutual adaptability of improvisation and composition demonstrates the vitality of contemporary music, because as everyone knows:
Adaptability est le propre des organismes vivants!
CQFD
Denis Beuret
Ministre Suisse de la Culture
Trombonist, improviser, compositeur, Développeur ...
Membre Comité: SMS, WIM Bern, 11 + Lausanne
Membres de: ASM, USDAM, SSRS, AMR, live in Vevey, spiral, Nouveau Monde, ...
Administrateur de l'Association Nouvelles Créations
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