Just listened to Aretha doing Nessun Dorma, which for some reason (probably because I avoid awards shows) I missed 25 years ago. Surely this is a fine example of snipping that closed loop. I can't get over how brilliant she is.
Oh cool, I'll look that up! It's rare to hear non-classical artists step into classical territory. Just the idea of it is exciting because there aren't the same expectations around her interpretation. What does an opera aria sound like when it isn't performed in traditional operatic style? Who says it has to be a particular way anyway? I think that's why I'm influenced by pop and rock singers and musicians. I'd rather make sounds like them, with more freedom in mind and less stricture on the way it's supposed to sound.
Love it! Do composers write about how they feel about what they have composed or thoughts during the process? What they feel when hearing the piece? Do they walk away from it at that point with the feeling play it as you wish?
Often there will be some info about the inspiration for a piece, which can be really illuminating. But it's rare to hear people talk about non-classical music influences, which fascinates me since many of my influences are non-classical. So I definitely want to bring that to the table in my own writing and see where that leads. As far as composers expressing their own experience of a performance- I almost never have that conversation and it would be a really cool one! One of the aspects of interpreting scores that I'm interested in digging into, is the idea that the score is recreated each time it is performed (which is based on research I did at UCSD), which I think can be at odds with some schools of compositional thought, where the score is so detailed that you, as the performer, almost feel like a machine playing the piece. That is, there is so much prescription involved that expression is really hard to access. Thanks for these questions!
Just listened to Aretha doing Nessun Dorma, which for some reason (probably because I avoid awards shows) I missed 25 years ago. Surely this is a fine example of snipping that closed loop. I can't get over how brilliant she is.
watched it, brought me to tears
Me too
Oh cool, I'll look that up! It's rare to hear non-classical artists step into classical territory. Just the idea of it is exciting because there aren't the same expectations around her interpretation. What does an opera aria sound like when it isn't performed in traditional operatic style? Who says it has to be a particular way anyway? I think that's why I'm influenced by pop and rock singers and musicians. I'd rather make sounds like them, with more freedom in mind and less stricture on the way it's supposed to sound.
Love it! Do composers write about how they feel about what they have composed or thoughts during the process? What they feel when hearing the piece? Do they walk away from it at that point with the feeling play it as you wish?
Often there will be some info about the inspiration for a piece, which can be really illuminating. But it's rare to hear people talk about non-classical music influences, which fascinates me since many of my influences are non-classical. So I definitely want to bring that to the table in my own writing and see where that leads. As far as composers expressing their own experience of a performance- I almost never have that conversation and it would be a really cool one! One of the aspects of interpreting scores that I'm interested in digging into, is the idea that the score is recreated each time it is performed (which is based on research I did at UCSD), which I think can be at odds with some schools of compositional thought, where the score is so detailed that you, as the performer, almost feel like a machine playing the piece. That is, there is so much prescription involved that expression is really hard to access. Thanks for these questions!
You're writing is incendiary☆can't wait for more!
Thank you Amanda!!!