"To speak about notation as the only way that you can guarantee structure of course is already very suspect"
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Evan Parker's statement, "To speak about notation as the only way that you can guarantee structure obviously is already very suspect", invites us to reassess the function of musical notation in specifying and ensuring musical structure. In essence, Parker challenges the traditional belief that written notation is the sole arbiter of musical type and coherence.
Traditionally, notation has actually been seen as the foundation of Western classical music, supplying an accurate map by which musicians navigate and recreate compositions. This dependence on notation suggests a presumption that musical structure is naturally connected to written representation. However, Parker's remark prompts us to inspect this presumption, recognizing that it might be more restricting than informing.
Parker, an avant-garde saxophonist understood for his improvisational prowess, most likely speaks from a viewpoint that values spontaneity, intuition, and the instant, lived experience of music-making. His declaration implies that real musical structure-- its type, logic, and coherence-- can also emerge naturally through the act of playing, improvisation, and deep listening. In this view, structure is not merely a pre-determined scaffold however a dynamic interaction between performers, their instruments, and the minute of development.
This interpretation lines up with lots of non-Western musical traditions, where oral transmission and improvisation play central roles in specifying musical structure. Consider Indian symphonic music's raga system or African drumming, where the structure emanates from cyclical patterns, communal interaction, and an intimate understanding of rhythm and tune.
In addition, by calling the idea of notation as the sole guarantor of structure "extremely suspect", Parker recommends that reliance on notation alone may suppress creativity. It might place undue focus on recreation rather than development, on fidelity to ball game rather than engagement with the music's essence.
In highlighting the suspect nature of this dependence, Parker advocates for a more comprehensive, richer understanding of musical structure-- one that values the countless methods music can exist and grow beyond the restrictions of composed notation.
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