tag:blogger.com,1999:blog-8827040061563065922.post673640728794406847..comments2024-03-27T23:06:03.736-05:00Comments on The Music Salon: Veridical and Illusory Aesthetic CharacteristicsBryan Townsendhttp://www.blogger.com/profile/09482696991279345516noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-8827040061563065922.post-63626538380253118372017-09-24T13:40:01.492-05:002017-09-24T13:40:01.492-05:00Heh, heh, heh!Heh, heh, heh!Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-16556042923419317122017-09-24T13:13:43.195-05:002017-09-24T13:13:43.195-05:00Although everything in this article is obvious to ...Although everything in this article is obvious to me now, looking back over my life of listening I'm surprised how long it took me to see what I was hearing!Will Wilkinhttps://www.blogger.com/profile/01997868915978439364noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-73047288866235881372017-09-24T10:05:29.250-05:002017-09-24T10:05:29.250-05:00I think that Beardsley is making this distinction ...I think that Beardsley is making this distinction in order to head off some potential confusion later on. No argument at all that the most important creative nexus is with the composer! And yes, the score itself, what Beardsley calls the "artifact" is itself just one realization of a creative idea. But he doesn't get into that detail.Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-65276146878462738532017-09-24T09:26:28.366-05:002017-09-24T09:26:28.366-05:00This distinction between artifact, production, and...This distinction between artifact, production, and presentation is very judicious (at least in the case of music). It should make performers happy by confirming their essential artistic role in the process. <br /><br />Still, it seems to me that true genius lies in the first leg of that tripod. At the end of the day, the magic of the 9th is in the score. In fact, the greatest composers didn't even need the other 2 legs. Beethoven was essentially completely deaf when he conducted the 9th (if I remember correctly, it was a mini-disaster), so for him the music was just in his head (production/performance being absent). All the great conductors "read" orchestral scores in bed with their brain as their only instruments.<br /><br />In fact, one can go further. Even the score doesn't seem to be the ultimate locus of the music. Some of Bach's greatest music was scored (by Bach himself) for different instruments in different keys with different arrangements. Take the Art of Fugue. There's been endless debate about the instrumentation. My own theory is that it was written as an exercise (like so much of Bach's keyboard work) with no particular instrumentation in mind. So now you have a piece of music that lies upstream of any actual music itself.<br /><br />Fascinating topics! Thanks for bringing that up, Bryan.<br />Anonymousnoreply@blogger.com