<snip>
We did not care if the
were trained or intuitive technicians. [KW]
<snip>
The freeing up of those trained/untrained, formal/informal, commercial/art
distinctions (at least temporarily) was the point: _not caring_ about the
distinction isn't the same as regarding training as a hindrance. And
suppression of knowledge ('...never mentioned...') isn't the same as not
having it in the first place. If Parker was a surprise but Taylor not then
surely you must have known (and cared) just a little, I think.
<snip>
Frankly, nobody I knew cared
particularly whether whosywhatsis was classically trained unless
Whosywhatsis was Vladimir Horowitz [KW]
<snip>
That's the distinction back again.
<snip>
John Cage? Frankly? Who cares? [KW]
<snip>
Babbitt respected Cage, total serialism notwithstanding. But I did mean
Cale, not Cage. Welshman. Responsible for the Velvet Underground's viola,
feedback and other emblematic sounds. Cale becoming a rock musician is like
Blake designing the cover for *Sergeant Pepper*: some sort of sign of the
times
<snip>
Hello. There was a widespread PERCEPTION that technique was a barrier to
free expression. [KW]
<snip>
_Free_ expression and _self_ expression aren't the same. I think you elide
that distinction also. Cf the role of chance, which is key here. Either in
Cage's terms or the aleatoric in, say, Lutoslawski's.
<snip>
Physically prevent from playing their instruments [...] it strikes me as
destructive and asinine. [KW]
<snip>
At that stage, Ichiyanagi was, I think, still married to Yoko Ono... But the
wider point was about the role of hindrance, chance's negative counterpart.
As to the material you describe as being 'too rich' for your blood. Let me
try to put it better (and it's not just or even primarily about music; think
of people like Valie Export or Hans Haacke, for example): there was a
further shift in focus, I think, from the behaviour of the materials making
up the object towards the behaviour of those concerned with the object
(artist, spectator, conservator, promoter et al). That is one of several
ways in which, again, hindrance is important.
CW
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I am always doing what I cannot do yet in order to learn how to do it
(van Gogh)
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