Imaginary music (PRELIMINARY ENGLISH VERSION)
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" The music we make is the music we want to hear, which does well " the jazzman Ron Harper exclaims during an interview. The poet Louis Aragon also said: " I put myself in the place of the reader: I read the book which I write, but I do not write it ". Permanently the musician estimates the information of feedback according to what he considers good to be heard, and he corrects consciously or not. Even deaf, Beethoven could estimate his scores.
But how does it start?
First of all, from where come sounds?
Why, when I knock at the door, that does not make a sound of bell, and when I hit a chord on the guitar, that does not make a sound of Harley-Davidson? (definitely, not with mine). Because the mechanical constitution of a door or of a guitar is such that these objects cause resonances. The energy which I provide to them is distributed to the specific frequencies of these resonances. So a particular soundwave builds up itself for every kind of system.
Also, the multiple feedbacks of the musical creation process cause resonances which distribute the energy of the musician toward particular rhythms, with their multiple and submultiples, either at once (percussions, instrumental virtuosity), or according to slower cycles.
Thus the musician begins by playing (or write) to start an energy. Then, according to arrangements taken to establish the feedback and according to the criteria of evaluation, the musical landscape becomes clearer and the work can begin.
The system relies essentially on the performance of the musician's listening process, at the physical, acoustic, sound and musical levels. At this highest level the capacities of adaptation and selection have to act to identify super-signs, maintain the comprehensibility and place forkings. So he will elate himself and he will take the listener with him.
Figure 1 : stone-man
Imaginary music ISBN 978-2-9530118-0-7 copyright Charles-Edouard Platel
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