"Like Grainger in England, Bartók brought with him an Edison cylinder, and he listened as the machine listened. He observed the flexible tempo of sung phrases, how they would accelerate in ornamental passages and taper off at the end. He saw how phrases were seldom symmetrical in shape, how a beat or two might be added or subtracted. He savored 'bent' notes--shadings above or below the given note--and 'wrong' notes that added flavor and bite. He understood how decorative figures could evolve into fresh themes, how common rhythms tied disparate themes together, how songs moved in circles instead of going from point A to point B. Yet he also realized that folk musicians could play in absolutely strict tempo when the occasion demanded it. He came to understand rural music as a kind of archaic avant-garde, through which he could defy all banality and convention."--Alex Ross, The Rest is Noise, p. 83
The music and writings of Danny Wier, a composer/musician based in Austin, Texas who dabbles in philosophy, history, politics and everything else.
06 July 2014
A quote about Béla Bartók, from a book I've been reading
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