How to improve musicality

[opendoor]

Good advice, that really was helpful, Brummbaer!

 

[Rabbit]

Furthermore, I would argue that the same piece played by a child prodigy would sound the same if played by another prodigy, if they shared teachers.

That's because modern classical music pedagogy only values and only teaches technique, is very prescriptive about interpretative style, and is in fact entirely to blame for this situation.

Tango actually suffers from a similar problem.

 

[itwillhappen]

Back to the sensual part.. I, personally, when I dance to a particularly dramatic late-period Pugliese piece, conjure up lived or imagined passion from love stories, stories that are epic movie drama material. When you feel you are so alive that all emotions are magnified in intensity. And then if the next tanda might be a light-hearted happy waltz, well let’s express the light-hearted happy feeling. I don’t care if my dance partner is thinking of dragons and princesses while I’m reliving the most intense memories of my life, or say, compassionate emotions from some tear-jearking Hollywood movie - since it’s all abstract, we can find ourselves on the same page in our collective interpretation.

In the past I have also used such tools based on memorized or invented emotions to feel something. In the meantime, I can limit myself to feeling the person in front of me while I move with her as comfortably as possible. Listening to the music together and the necessary technology are the remaining tools.

 

[pianistamediano]

That's because modern classical music pedagogy only values and only teaches technique, is very prescriptive about interpretative style, and is in fact entirely to blame for this situation.

Tango actually suffers from a similar problem.

Indeed. In some ways, both have been refined and optimised over the years towards efficiency and a sense of "elegance", but at the cost of individuality and creativity. It is for this reason that some of my friends in tango dislike taking classes, and warn newer dancers about the potential harm they can do. There is some good in classes, but the students need to understand that they should question what they learn and not blindly follow it, and consider if ultimately it serves their purpose in, say, dancing at the milonga or performing on stage.

I am thankful that my own piano teachers encouraged me to find my own interpretation of the pieces, and to consider what the composer might have intended with his directions and music. Of course, first we imitate our betters in learning a piece, but then once we have a sense of the piece, we can seek our own path.

 

[pianistamediano]

Hi, pianistamediano, I learned English at school many years ago. I would describe my vocabulary as rather mediocre or bad. Thus I don't understand entirely the use of gatekeeping in your post. I associate (I'm German) with it rather a selective bouncer, who lets some in, others not.

Apologies for causing confusion! The general meaning I use it in is along the lines of: when someone takes it upon themselves to decide who does or does not have access or rights to a community or identity. As Brummbaer mentioned, you are still free to access and enter it, but that someone tries to classify you in a negative manner and prevent you from considering yourself part of it.

For example, I could "gatekeep" classical music by being snobby and elitist and saying that someone who cannot play any musical instrument is plebeian and cannot appreciate classical music properly, therefore they cannot call themselves true fans.

I believe a major reason for doing so is to elevate oneself over others and give oneself a sense of perceived superiority.

 

[pianistamediano]

In the past I have also used such tools based on memorized or invented emotions to feel something. In the meantime, I can limit myself to feeling the person in front of me while I move with her as comfortably as possible. Listening to the music together and the necessary technology are the remaining tools.

I think, at least for me, that it is a bit too much to actively produce emotion or feeling or imagery, and distracts me from the music and my partner. The music conjures up feelings and emotions by themselves, and I am content with what I feel, and what my follower conveys to me.

In this moment, with this music, on this floor, her in my arms and I in hers; that is the universe in this little space between us. If there is any kind of magic in this world, it must be in the attempt of understanding someone sharing something.

 

[TTanguero]

In this moment, with this music, on this floor, her in my arms and I in hers;

Almost word-for-word my most important lesson

This person, this music, this moment: Reconnecting with the essence of tango

I remember returning from Buenos Aires in 2019 with a whole new understanding of what tango is about – at least, to me. Back here now, I realised that I’d lost some of that understanding alon…

benlovejoy.blog

 

[ardix]

Coolio's Gangsta's Paradise (which I very much enjoy listening to!).

@pianistamediano

 

[opendoor]

Almost word-for-word my most important lesson

This person, this music, this moment: Reconnecting with the essence of tango

I remember returning from Buenos Aires in 2019 with a whole new understanding of what tango is about – at least, to me. Back here now, I realised that I’d lost some of that understanding alon…

benlovejoy.blog

Terrible article, please do not redistribute. The author subordinates the music to the movement. No way.

 

[TTanguero]

Terrible article, please do not redistribute. The author subordinates the music to the movement. No way.

You've misunderstood entirely. It is saying that it is better to wait another beat than to rush your partner.

 

[JournalInTime]

Terrible article, please do not redistribute. The author subordinates the music to the movement. No way.

Each dancer should get to decide "I dance the music" (and what part: beat, melody, rhythm, this instrument, that instrument, etc.), "I dance the emotion," "I dance the movements," "I dance for my partner," "I dance for the crowd," "I dance for fitness," etc., and in what combinations. I probably won't always agree with them, but that doesn't make their choices terrible.

 

[ArbeeNYC]

Why not, since most people only hear and hardly listen to the music.

 

[ArbeeNYC]

Tango actually suffers from a similar problem.

On the professional/performance level yes, but at the local level it could probably use more pedagogy and technique.

 

[ArbeeNYC]

There is some good in classes, but the students need to understand that they should question what they learn and not blindly follow it, and consider if ultimately it serves their purpose in, say, dancing at the milonga or performing on stage.

I agree this somewhat but feel that the development of what might be called a "personal" style comes only after we have learned the fundamentals *well enough* to deviate from them. From what I see, far more people should have taken more classes not fewer. Most of them lack the basic mechanics of dancing tango and remain permanent novices. Now, whether you can obtain those fundamentals from group classes, private classes, working with an experienced partner or mentor, or some other way is up to you. But we need to go through the process.

 

[pianistamediano]

Very good point; I was trying to say that students should not blindly follow their teachers not because it would affect the development of their personal style (even though it very much does), but that the teacher may convey bad habits, inefficient ways of doing things, or even a dismissive attitude towards traditional tango music (horror!), and that the students should ideally expose themselves to more than just their teachers and form some idea of what might be good for them.

Of course, this sort of ties in with developing their own individual style; for example, there are many correct (as opposed to flat out wrong or harmful) ways to lead/do an ocho, but giving them access to all this knowledge and experience will help guide them in their development.

In that sense, classes are mostly great for nurturing the fundamentals of walking, embracing, etc.; the only issue is if students take the teachings as gospel and refuse to consider anything that does not quite agree with what they learned.