Abstract
Discussions regarding reconstruction, replication, or re-enactment in
music can be fruitful only if musicians are experts in understanding
the quality of the material with which they make their music: sounds.
Such expertise can be acquired by analyzing and adapting the ways
organists and organ builders deal with organ sounds, as each organ is an
individual to a far greater extent than any other musical instrument. Organ
builders discern how the thousands of pipes in an organ should sound
and cooperate; organists have to able to understand the frames thus set.
Generally speaking, it follows that composers’ intentions are subordinate
to musicians’ and listeners’ ones: music is something that sounds.
music can be fruitful only if musicians are experts in understanding
the quality of the material with which they make their music: sounds.
Such expertise can be acquired by analyzing and adapting the ways
organists and organ builders deal with organ sounds, as each organ is an
individual to a far greater extent than any other musical instrument. Organ
builders discern how the thousands of pipes in an organ should sound
and cooperate; organists have to able to understand the frames thus set.
Generally speaking, it follows that composers’ intentions are subordinate
to musicians’ and listeners’ ones: music is something that sounds.
| Original language | English |
|---|---|
| Title of host publication | Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences |
| Editors | Sven Dupré, Anna Harris, Julia Kursell, Patricia Lulof, Maartje Stols-Witlox |
| Publisher | Amsterdam University Press |
| Chapter | 4 |
| Pages | 115-140 |
| ISBN (Electronic) | 9789048543854 |
| DOIs | |
| Publication status | Published - 2020 |
Keywords
- organ
- sound
- situationality
- voicing
- music-making
- listening
- intentionality