Composers v Instrument Operators

democrates

I am not a proficient player of any instrument.

It has struck me a few times over the years that some people I know who are proficient at playing an instrument have this condescending attitude toward people who cannot play any instrument very well yet can compose innovative tracks and perform them using digital technology.

Some of these excellent performers could not originate a melody or rhythm to save their lives, it's "show mr the notes and I'll play". My ethos is live and let live, if someone has no composition talent, so what, long may they enjoy performing other peoples creations.

But why should those with composition talent but no instrument expertise be cast as inferior, deserving of snide comments, surely the original instrument is the human mind (and heart), and the phyisical devices we call 'instruments' are simply means to express what emerges within, and the computer is just a very versatile instrument?

For me the masters are those who play Jazz improv, Machito and Gillespie, that's premier performance capability plus instant composition, pure genius. Maybe I'm a bit jealous of those who can perform my compositions better than I can, but I'm getting a bit p155ed off with this "performance of an instrument is all" atmosphere that seems to be about.

Is it just me?

cornbb

Interesting post, I agree with you too.

If you take classical music as an example, the composer was always the one who recieved the admiration/accolades and was viewed as greatly talented. Musicians were relatively commonplace and poorly paid. They would not be viewed as talentless however, a talented musician playing someone else's composition would be seen as an interpreter of that music.

Nowadays, composers/songwriters appear to recieve very little recognition. Even in the classical world, musicians tend to be much more prolific than composers when it comes to personality. There seems to be a confounding adoration of certain types of musicians who can, mechanically speaking, play extremely fast and tight, but without any real sort of expression or compositional ability. Certain guitarists renowned for sweep picking scales spring to mind - playing scales is NOT impressive no matter how fast you can do it!

As regards computers and computer music, I have the utmost respect for music created in this manner. Computers are tools for composition, expression, performance, production, sound engineering and plently of other facets of music creation. IMO, the computer is the most versatile instrument there is.

I'm not knocking musicians here however, heaps of talent are required in order to deliver a good performance of any work. Like the OP, I just don't think they should be getting all the recognition.

440Hz

Not much left for me to say that cornbb has not already said. Coming from the same background as cornbb I am of the same mindset on every point he has made.

I think what makes a great performer is someone who can interpret the music of others and make it their own, or successfully convey the intended emotion of the composer. As a singer this is what I see as my job. If I am performing I don't see it as the audience are there to hear me, rather that they are there to hear a performance of the music, and that encompasses so much more than me simply opening my mouth and singing some fancy notes. Interpretation and delivery, skill and expertise as well as a good ear and musical 'head' that IMO is what makes a good musician. BUT central to all of that is the appreciation of music, and I dont think you can be a great musician without that. By that I mean the appreciation of the art of music, taking in every genre, not just your genre of choice for performance.

It should not come down to being a battle for greatness/importance between the composer/performer. One cannot exist without the other. Whether they are one in the same person, or whatever combination of human, machine, instrument you might like to take. Composition and performance are intrinsicly linked, and will always be equally important in my view. Being able to do one and not the other does not make you any less great at the one you can do IMO. We can't all be good at everything - that is apparent in every aspect of life everyday!!

They are my thoughts anyway!

democrates

Yeah I was in a bit of a combatorial mood posting that after a meeting a few muso friends, but I'd say they were too after my cutting remarks. I'll make up before the next gig, wouldn't want to be responsible for anyone going on stage with anything less than max feelgood.

Of all instruments I think vocals are the pinnacle when it comes to conveying emotion , plus you can tell a story. Nothing I can do on a computer will ever match that, even max headroom got old very quick and that was just talk, ok MC Hawking has a nerdcore niche, but generally people want the real deal, the emotional roller coaster from major to minor and back, and the visuals like the famous tear on Sinead O'Conners nothing compares.

Also I have to admit I'm blown away by the expressiveness of Sanatana and so many others, and generally prefer live music which speaks volumes.

A perfect example of the performers ability to make a composition their own is Michael Nymans "The Heart Asks Pleasure first" for the movie 'The Piano', he doubted whether she could play it properly but admitted she made it sound better than he had imagined. Can't recall her name but cute, pretty, a bit quiet but they're always the ones.

Appreciating a broad diversity of genres - I could not agree more, the variety of instrument textures, the rhythms, the melodies, and even the genetically distant human voices are both absorbing to hear and an inspiration for composition, a pursuit which I suppose should include perfecting your own sound as many performers do.

Looking back it's clear to me that it was only after buying an instrument and picking out tunes that my appreciation for music and performance really escalated, I found out how difficult it is to get it right, and compared to others I'm stuck at that.

Trying to come up with new chord progressions, experimenting with swapping staccato and legato between fill and chorus and things like that completely opened up a new vista, the strange thing was to hear old songs in a new way, far richer. It's a parallel with photography and subjects, you perceive more in the same image than you did before you learned about the different aspects.

I think there's an opportunity to take music appreciation courses beyond classical and include the whole gamut. I wonder too at music lessons, how many people don't play today because it was too regimented for them as kids and turned them off? Even in boring corporate meeting rooms people brainstorm to come up with solutions, but is there enough of this shoot the breeze element of free innovation in music education for beginners?