Things to keep in mind:
The secret of storytelling.
They tell you you’re supposed to do that; that’s what you should do. I think what music can offer is the feeling of forward motion, also the feeling of accumulation of information, of sensations, of feelings, like we’re going somewhere. When I say “feel like,” I don’t mean to suggest that it’s not real, but that it’s the work of the imagination, which is what narrative is.
We can create the sensation of community through the accrual of actions, and that’s often the clichéd way that it’s talked about, as someone taking a solo—Sonny Rollins taking a solo, having his motific development as formal logic—and that’s great for lots of reasons. But I don’t really like to feel like I’m forced to listen to it in a certain way, or that there is one master reading of performance. I think what we want from performance is multiplicity, which is lots of ways in and through it, because it’s for lots of people, and it was created by lots of people, often.
I find myself skeptical of music that forces you to have a certain experience, emotional reaction, or specific constructive arc of experience. But performers should still take care of that, to a certain extent—how does it add up?
What you want from performance, because we’re all in a room together, is that somehow we’ve gotten somewhere at the end, together. You could call that a sense of narrative, but it’s not so obvious how that happens. One way it happens is by everyone caring about it happening.
—posted 2934 days ago
