Peut-on avoir étudié le classique au conservatoire et COMPRENDRE le Jazz [sur une idée de Neya]
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Ça c'est kloug
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Neya_
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Citation : Peut-on avoir étudié le classique au conservatoire et COMPRENDRE le Jazz...?
Oui...
Marie...
Ça c'est kloug
Merci d'avoir faire avancer le débat par des propos si étayés.
Et merci d'avoir compris que c'était du fun.
Neya_
Citation : Merci d'avoir faire
Kloug se met au canadien on dirait
Anonyme
Par contre ma réponse n'engage que moi et elle est partagée par bien des musicien(ne)s et compositeurs contemporains comme John Zorn qui est nulle doute l'une des personnes que je respecte le plus dans l'univers de la musique...
Citation : My musical world is like a little prism. You look through it and it goes off in a million different directions. Since every genre is the same, all musicians should be equally respected. It doesn't matter if it's jazz, blues, or classical. They're all the same. I don't think of myself as a jazz or rock artist. I think of myself as someone who's using all of these different elements to create something else. But if I had to pick one line where I came from, it would be more classical than anything else.
Citation : John Zorn is no exception. Since the 1970s, he's worked with classical ensembles of all sizes. Between his jazz bands, soundtracks, and improvised heavy metal albums, he always finds the time to compose and record unusual chamber pieces for string quartet, solo cello, solo drums, full ochestra, clarinet quartet, and even a wind octet.
As each new piece is recorded, he releases it as part of an ongoing chamber music series.
But of course, Zorn has to twist it a little bit. His definition of chamber music is more of a sensibility than the choice of instruments. In some cases, he takes a traditional approach — the music is weird, but it's classical. In other cases, he'll make album of computerized and call it chamber music.
Most of this music is composed in blocks: quick-changing, contrasting chunks of melody and sound. In some cases, the blocks all fit into a particular theme — like cartoon music, for example. In other cases, there is no obvious theme. After repeatedly listening to the piece, it can become so familiar that it seems to develop from one point to the next, like a normal song. But it never quite comes together.
This can be frustrating for the average listener, but that's what Zorn's music — and avant-garde music in general — is all about. These albums are truly unique and creative. They are also very complex, requiring the listener to invest some time to understand them.
Marie...
Anonyme
Ça c'est kloug
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