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Motto: Still do exist some powerful
psychophysical devices that determine our effectiveness in any musical
activity. Few of them are deeply hidden in our mind & body entirety;
actually they might be of the greatest importance... (Rather very old truth...) Virtual
aspects of playing and teaching the piano:
invisible elements. Appearance One is available via this link; Appearance Three is available via this one.
Standard
I: Emotional Resonance acts always and
everywhere! Every symbol, image
and/or - sound we see, hear and/or - experience... This one: Generates particular
kind of the EMOTIONAL RESONANCE in ours mind & body entirety.
Interpretation:
each one human
being needs in colors, images and ideas. Simply said: one actually needs in
something inspiring that might put ones fantasy into action. Especially musically
talented individuals do not like to be feed up by the fully dried
abstractions only, as NOTES, KEYS, FINGERS, CRESCENDO, RALLENTANDO, HANDS,
SHARPS, FINGERING, FLATS, LEGATO, STACCATO, MODULATIONS, etc. All these
necessary notions cannot be seen as enough powerful stimulators in case IF
they possess no straight relation to any colorful, interesting FACT related to everyday life. Let you
consider the fact, I didn't maintain the "everyday life of any
uncivilized human being"! Philosophers and artists probably HAVE theirs
everyday life, too - I hope.
Additional
comment: Chopin said:
"The abstract sound does not originate the music"... And Neuhaus
said: "Technique cannot be created in a vacuum just as you cannot create
a form devoid of any content"...
Standard II: Emotional Resonance truly acts always and everywhere! X. Such contents one can
see at the picture X. - usually is being
"created" not only by the piano students' imagination! That is possibly
why so many people are switching off theirs radios and TVs, hearing even some
notes of the "CLASSICAL", i.e. habitually BORING piano music! On the picture Z. one could found something else...
The
Question: How could be
possible to change the situation presented by model X into the better one, presented by model Z? The
Answer: One ought to
change the OBJECT one is used to understand as
the artistic content of The Piece she/he is actually practicing or
playing...
Additional
Explanations: 1. "Music"
cannot mean - "the well organized sounds' stream." 2.
"Interpretation" cannot mean - "the literally accurate
realization of the every one composer's remark." 3. "Music"
should mean - "the well organized stream of sounds that must impress the
listeners' fantasy". 4.
"Interpretation" should mean - "the creative realization of
the composer's idea." 5. A technique of
playing the piano, EVEN if somebody might understand it as something of
purely mechanical, i.e. motional character - undoubtedly plays very important
role in the whole piano professional schooling. Still the most important
thing in the piano technical schooling apparently is the IMAGE - as something
that could activate the player's fantasy and activate her/his intellectual
and emotional RELATION to stylistic, historical, social, etc. soil, the
studied piece has probably been grown in. 6. The IMAGE - that
BECOMES definitely transferred via the piano sound from the pianist's fantasy
to fantasy of his/her listeners, generates the images of exactly similar
value in theirs mind. Creating artistically WORTHLESS IMAGES the pianist
(violinist, singer, etc.) in spite of quality of his instrumental technique
can originate in minds of his listeners only the feeling of emptiness or
absurdity.
The
Question: which way
flows X's and Z's musical imagination along? X. The
Answer: Pianist X is interested in the literal realization
of the musical text: for him Notes - graphical signs - are IDENTIC with the
Idea, which still cannot be identified as a Text only. Pianist X seemingly cannot find any value
that might virtually exist BEYOND the Text. Pianist Z. - tries to recognize the Idea as something
that really exists besides beyond the Text, he tries in his playing to carry
out something, which - as a class or category - might actually represent the
humanly Meaningful Thing.
Too esoteric, too much philosophy? Oh, no - Dear Friends! Not at all!
Though, we actually are speaking about The Fine Art, not about of any "Obscure
Something"...!
Post Scriptum According to the Dmitri Kabalevski's opinion, each one musical piece
could be determine, mainly - as such category as MARCH, DANCE or SONG. Of course, he [D. Kabalevski] did not take into consideration the
pieces composed by Schönberg, Boulez, Stockhausen & Comp. Still for
everyday musical practice his very handy STANDARD could be used with the
greater success. His Formula, for example, should be completed by the usage
of such words as: VIEWING, FLOW or any else notion that might be related to
any kind of MOTION! I am sure; everybody is able to find out the NOTION that suits her/him
for the Best! Herein exists only one condition there: such Notion should be related to any kind of
Motion -again! Yes, because the MOTION
generates the action on the same way as INACTIVITY originates indolence, i.e.
- produces the pure, highly sterilized musical BOREDOM!
"The
proof of the pudding is in the eating"...!
If something might be unclear yet, let
you try to use this help:
Thank you for yours patience -
Stefan
Kutrzeba Appearance
One is available via this link; Appearance Three is available via this one. Last revised: 2005-11-12 |
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