By Roger Sessions
One of America's preferable modern composers, professor of tune on the college of California, Roger classes right here discusses the musical adventure of the composer, the performer, the listener. He believes this adventure to be shared, on within which all 3 individuals play very important roles, and during this booklet he speaks particularly to the listener.
Mr. classes reveals that the artist-public relationships has been shifted to that of manufacturer and buyer in giant company. yet his respond to his personal query a few probability to the way forward for tune is either a problem and an expression of desire. a desirable little e-book that would be learn with excitement through humans in any respect degrees of musical education.
Originally released in 1950.
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Additional resources for Musical Experience of Composer, Performer, Listener
Hence the development of tonality was a necessary condition for the development of large design in music, since tonality alone provided an adequate means of contrast. Until a tonal center could be radically shifted, the extension of musical form was hampered by the fact that a single tonal center tended to grow monotonous and wearisome. Since, as we have seen, the very nature of music is time, the result of successive impressions, contrast of the type yielded by tonality becomes indispensable if the music is to last more than a very short time.
An even more problematical instance is that of the composers of the Renaissance who set such passages in their texts as referred to "darkness," either literal or figurative, by using in their manuscript short notes, which, like our quarters, eighths, sixteenths, and so forth, as against our "white" half and whole notes, were literally black, and hence "darkened" the page. Never, as far as I know, has the attempt at associative suggestion in music been carried to more far-fetched conclusions, and it is clear that this type of suggestion is as irrelevant as it is out-dated.
Each relies, that is, on the selective and the coordinative function of the ear, which coordinates impressions by reducing them to the simplest forms. Musical Ear" abstract. The activity of the ear does not end here. It organizes not only the generalized rhythmic, melodic, and harmonic materials, but the specific musical ideas of the composer-the motifs, phrases, harmonic and rhythmic patterns which constitute his individual materials and that of the particular musical work. As I have deferred discussion of the harmonic language of the nineteenth century and of today because it leads into regions which require a high degree of definition and which themselves lead into the realms of the speculative and problematic, so shall I defer these other questions, as being closely bound up with the work of the composer in its individual and creative aspects and inseparable from them.
Musical Experience of Composer, Performer, Listener by Roger Sessions