Literature:Genesis of a Music/Skellan: Difference between revisions

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:''Ulyn a fraŋáwinws ryb hylpyvrél dysgý nwsyvŋá spejað hylmoçłeŋ mend ñe: bo ~~hylpyvréð~~ dyb syvŋá moçłeŋ pacrées ñe dy vurol.''

:''Ulyn a fraŋáwinws ryb hylpyvrél dysgý nwsyvŋá spejað hylmoçłeŋ mend ñe: bo hylpyvrél dyb syvŋá moçłeŋ pacrées ñe dy vurol.''

:perhaps SG hallowed-SUP of-COL tradition among artist vigorous-CST creativity this 3SG.N: COL tradition in-COL art creative suspect 3SG.N per_se

:PERHAPS the most hallowed of traditions among artists of creative vigor is this: traditions in the creative arts are per se suspect.

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:on large, from this A be_formed it: investigation, investigation, investigation. in poetry and in many other form of expression creative, can this.SG investigation follow path intellectual and metaphysical entirely, but in music, by_nature, must it also follow path grabbable.

:In large measure it is compounded of investigation, investigation, investigation. In poetry and in many other forms of creative expression investigation may take an entirely intellectual and metaphysical path, but in music, because of the very nature of the art, it must also take a physical path.

:A phalanx of good pianists, good teachers, good composers, and "good" music no more creates a spirit of investigation and a vital age in music than good grades in school create a spirit of investigation and a body of thinking citizens.

:To promote a youthful vitality in music we must have students who will question every idea and related physical object that they encounter.

:They must question the corpus of knowledge, traditions, and usages that give us a piano, for example – the very fact of a piano; they must question the tones of its keys, question the music on its rack, and, above all, they must question, constantly and eternally, what might be called the philosophies behind device, the philosophies that are really responsible for these things.

PERHAPS the most hallowed of traditions among artists of creative vigor is this: traditions in the creative arts are per se suspect. For they exist on the patrimony of standardization, which means degeneration. They dominate because they are to the interest of some group that has the power to perpetuate them, and they cease to dominate when some equally powerful group undertakes to bend them to a new pattern. It is not difficult for the alert student to acquire the traditional techniques. Under the pressures of study these are unconsciously and all too easily absorbed. The extent to which an individual can resist being blindly led by tradition is a good measure of his vitality.

@@ Line 1: / Line 1: @@
-:''Ulyn a fraŋáwinws ryb hylpyvrél dysgý nwsyvŋá spejað hylmoçłeŋ mend ñe: bo hylpyvréð dyb syvŋá moçłeŋ pacrées ñe dy vurol.''
+:''Ulyn a fraŋáwinws ryb hylpyvrél dysgý nwsyvŋá spejað hylmoçłeŋ mend ñe: bo hylpyvrél dyb syvŋá moçłeŋ pacrées ñe dy vurol.''
 :perhaps SG hallowed-SUP of-COL tradition among artist vigorous-CST creativity this 3SG.N:  COL tradition in-COL art creative suspect 3SG.N per_se
 :PERHAPS the most hallowed of traditions among artists of creative vigor is this: traditions in the creative arts are per se suspect.
@@ Line 25: / Line 25: @@
 :on large, from this A be_formed it: investigation, investigation, investigation. in poetry and in many other form of expression creative, can this.SG investigation follow path intellectual and metaphysical entirely, but in music, by_nature, must it also follow path grabbable.
 :In large measure it is compounded of investigation, investigation, investigation. In poetry and in many other forms of creative expression investigation may take an entirely intellectual and metaphysical path, but in music, because of the very nature of the art, it must also take a physical path.
+:A phalanx of good pianists, good teachers, good composers, and "good" music no more creates a spirit of investigation and a vital age in music than good grades in school create a spirit of investigation and a body of thinking citizens.
+:To promote a youthful vitality in music we must have students who will question every idea and related physical object that they encounter.
+:They must question the corpus of knowledge, traditions, and usages that give us a piano, for example – the very fact of a piano; they must question the tones of its keys, question the music on its rack, and, above all, they must question, constantly and eternally, what might be called the philosophies behind device, the philosophies that are really responsible for these things.
 PERHAPS the most hallowed of traditions among artists of creative vigor is this: traditions in the creative arts are per se suspect. For they exist on the patrimony of standardization, which means degeneration. They dominate because they are to the interest of some group that has the power to perpetuate them, and they cease to dominate when some equally powerful group undertakes to bend them to a new pattern. It is not difficult for the alert student to acquire the traditional techniques. Under the pressures of study these are unconsciously and all too easily absorbed. The extent to which an individual can resist being blindly led by tradition is a good measure of his vitality.