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E-book Vinyl Theory

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Penilaian

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Music has an incredible power over life. For some, music reveals this power through its ability to move our bodies and inspire our minds. Who cannot resist moving their hips when Chubby Checker asks us to do the twist? Or does not feel intellectually uplifted when listening to the music of J. S. Bach? Or politically committed and socially engaged when listening to Bob Dylan’s “Hurricane” (1975), N.W.A.’s “Fuck Tha Police” (1988), or Public Enemy’s “Fight the Power” (1989)?For others though the connection between music and life is far stronger than mere affect. For people like Wolfgang Amadeus Mozart and Miles Davis, a case might be made that “music is life.” Not just in the sense that their lives were consumed with making music, but also in a far stronger sense, namely, that for each of them “there is no life outside of music.” Understanding what these two complementary statements might mean involves a consider-ation about the relations not just between life and music but also death and music. This also opens up a related question, that is, What is the capacity of music to “foster life” and to “disallow it to the point of death”? The composer of over six hundred works, including many of the most well-known and revered works of classical symphonic, operatic, concertante, choral, and chamber music, Mozart was a musical prodigy. Although he died at the age of thirty-five, almost all of these years involved musical composition in some form or another. For Mozart, it seems fair to say, music was his life. As a three-year-old, he watched his seven-year-old sister, Nannerl,take keyboard lessons with their father. After her brother’s death, Nannerl reflected on Wolfgang’s early interest in music: “He often spent much time at the clavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good.” “In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. . . . He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. . . . At the age of five, he was already composing little pieces, which he played to his father who wrote them down.”2 In short, his brief life from his earliest years of age was completely consumed with music and its composition.Although Miles Davis, like Mozart, had a parent who played violin and keyboard, Cleota Mae Henry Davis was not a composer or an experienced music teacher like Leopold Mozart.3 Davis says in his autobiography that “[t]he first time I really paid attention to music was when I used to listen to a radio show called ‘Har-lem Rhythms.’” He “was about seven or eight” at the time, and then “when I was nine or ten I started taking some private music lessons.”4 Like Mozart, Davis was consumed with music. “When I got into music I went all the way into music; I didn’t have no time after that for nothing else.”5 “By the time I was twelve,” says Davis, “music had become the most important thing in my life.”6Regarding a five-year period from 1975 to early 1980 during which Davis didn’t pick up his horn even once, he comments, “I had been involved in music continuously since I was twelve or thirteen years old.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

681.8 DIL v

Penerbit

USA : Lever Press., 2020

Deskripsi Fisik

169 hm

Bahasa

English

ISBN/ISSN

9781643150154

Klasifikasi

681.8

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Musical Instruments

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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