The baroque vocal music performance technique labelled "one-voice-per-part" is severally lauded and vilified as historical or not. Well recorded, it has the virtue of leaving its parts, its voices, unfermented and thereby individually discernable. The resulting sound has a sheer physical beauty that surely justifies its exercize. The parts are realized as both willful and tactfully conscious of one another, emerging from their grounding harmonic without merging into any single line. This crystalizes the organic character of all successful craft: the whole's constituent voices are both unique and subject to common structure.
Of course the structure is conventional; within it, the field of play available to a voice is limited. But then the interplay of several persons in league is also contingent, limited by interest, language, intransigent physicality. Pursued in good faith, however, sustained and alive with interawareness, social constructions large or small can be as beautiful as they are productive.
With regard to the historical question, well, authenticity is bunk.
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