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The classical orchestra and the jazz combo are fixed images of polar opposites.
Solid structure and loose improvisation may fit on the same musical globe but have the proximity of the north and south pole.
Or do they?
THE CLASSICAL ORCHESTRA:
Fifty chairs set in perfectly curved rows and columns containing fifty tuxedoed musicians segregated by instrument: violins/violas in one section, cellos/double bass in another; upper-register wind instruments in the mezzanine, lower-register in the rear of the stage.
Behind them, tympani/percussion is placed diametrically opposite the Conductor.
For every chair, a music stand with sheets of symbols demanding absolute obedience.
What is the end product of this assemblage?
The musicians will probably sip champagne after the concert.
THE JAZZ COMBO:
A piano, drum kit, and maybe a microphone for the stand-up bass player are set up on a small stage with poor lighting. Maybe a chair if the band contains a guitar and maybe mikes for the horn section, if there is one.
Possibly a singer will tell a tale of sexual promiscuity. Hopefully the club owner will pay everybody.
What is the end product of this assemblage?
The musicians will probably smoke a joint between sets.
And the Gods laughs olympically at the so-called “improvising” of the jazz band. As if the musicians were making it up out of thin air when they’ve spent entire lifetimes preparing the sounds they are creating.
Can this music function without a “Conductor”?
Definitely!
Drumsticks are transformed batons that become the two hands of a clock and every drummer is Father Time’s alter ego.
And Father Time wears a Conductor's suit.
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Footnote
Originally written in 1998, THE FALSE DICHOTOMY is the copyrighted property
of both the LCSoL and The Neither/Nor Journal.
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Originally written in 1998, THE FALSE DICHOTOMY is the copyrighted property
of both the LCSoL and The Neither/Nor Journal.
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