"But without the experience of actually singing or playing these things yourself, you don't have the same kind of involvement or understanding of what these musical moves mean. And that is a very big problem in addressing the future of music"
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Tilson Thomas is making a deceptively blunt argument: you can’t outsource musical understanding to listening, talking, or even loving music. He’s drawing a line between consumption and participation, insisting that “involvement” isn’t a vibe but a bodily, time-bound experience. To sing a phrase is to feel where breath runs out, where a leap strains, where rhythm snaps into place only after you’ve missed it a dozen times. Those “musical moves” aren’t just clever turns; they’re decisions with physical and emotional cost. Without that cost, he implies, our interpretations become thinner, more like commentary than contact.
The subtext is a quiet indictment of a culture sliding toward passive expertise. As music becomes ever more available - streamed, sampled, algorithmically sorted - it’s easy to confuse access with intimacy. Tilson Thomas is wary of a future in which people can name influences, debate genres, and curate playlists while lacking the tactile literacy that makes music legible from the inside. His “very big problem” isn’t nostalgia for practice rooms; it’s fear of a public that can be marketed to but not musically addressed.
Context matters: this is a conductor and educator speaking from the institutional world, where participation (school music programs, community ensembles, lessons) is often the first budget line cut. The quote doubles as a warning and a policy argument: if fewer people make music, fewer people will recognize what’s at stake when music changes. The future of music, he suggests, won’t be decided only by new sounds, but by whether there’s still a shared capacity to feel how those sounds are made.
The subtext is a quiet indictment of a culture sliding toward passive expertise. As music becomes ever more available - streamed, sampled, algorithmically sorted - it’s easy to confuse access with intimacy. Tilson Thomas is wary of a future in which people can name influences, debate genres, and curate playlists while lacking the tactile literacy that makes music legible from the inside. His “very big problem” isn’t nostalgia for practice rooms; it’s fear of a public that can be marketed to but not musically addressed.
Context matters: this is a conductor and educator speaking from the institutional world, where participation (school music programs, community ensembles, lessons) is often the first budget line cut. The quote doubles as a warning and a policy argument: if fewer people make music, fewer people will recognize what’s at stake when music changes. The future of music, he suggests, won’t be decided only by new sounds, but by whether there’s still a shared capacity to feel how those sounds are made.
Quote Details
| Topic | Music |
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