Performance as an Extreme Occasion

Edward tell, in his 1989 cheaticle Per relieve oneselfance as an Extreme Occasion, writes that the exercise of a music drill as rendered by todays musicians represents the kind of technical mastery that transcends affection and catapults the execution into an extreme open source. He begins by mentioning the works of literary and artistic critics who pay explored the performance of such arts as painting and writing. He points out the similarities amongst this type of performance and that of musicians, exclusively makes the important distinction that (especially today) musicians are little likely to be performing pieces they themselves have dispassionate. express goes on to strike the extreme state in which a musician must work himself when performing at concerts, as opposed to performances that occur privately. In fact, in todays world, the tuneful promoter is often so by and large superior in skill to the listener that the extremity of the performance is a great deal more pronounced because of the effect it has on its listeners.He explores the idea of how music is transcribed today as being almost an art form and highlights the difference between transcription for public use (of former times) and the elucidate forms of transcription (as done by Liszt and Gould) which allow the piece to take on a new identity. He describes Liszts transcriptions as an art of uphold and extended quotation, and later of quotation prolonged elaborately into what Liszt was to call a concert paraphrase or fantasia (Said, 6). Such forms of execution embody a method that showcases the extreme talent of the performer not just in technical but interpretative prowess, and this Said describes as the extreme social function that performance becomes for the musician.The extreme nature of the performances to which Said alludes comes also from the fact that performers have the added pressure of desiring to sell tickets. This is true not just of concert performers, but of popu lar musicians who must show off specialized and eccentric skills.Said goes on to describe the performance of such musicians as staked on the performers interpretive and histrionic personality fenced in by his or her obligatory muteness, upon the audiences receptivity, subordination, and paying patience (Said, 11). Furthermore, changes in the societal methods of performance and the social strata to which performers belong have also contributed to the extreme occasion of performance.The essay by Said was interesting in the way he compares music with other art forms, but underscores the ability of the performer to be divorced from the composer in this medium. It points out to me the two distinct forms of excellence that musicians jackpot attain. They can become masters at composing as comfortably as masters of performing or executing works composed by themselves or others.What also was interesting about the cut officular ideas Said puts forth are his views on transcription as being an art in its get right. The development of transcription from a method of facilitating the unpaid or chamber pianist to is elaborately interpretive state demonstrates the part that any art form takes to grow into maturity. It also shows how such ideas a plagiarism can be blurred in the music field, and musical quotes and paraphrases can grow up, become embellished and go on to be their own masterpieces.What Said calls the basically illiterate mass market appetite laid low(p) an interesting note for me, as it highlighted the fact that persons who listened to music in the outgoing were probably more appreciative of it precisely because they were familiar with the technical aspects of the music. They maybe listened as musicians listenkeenly and sympathetically.The role of recordings, radio and television in reducing music appreciation is therefore something I find ironic, because plane though it has increased the exposure of the masses to music, it has reduced the need for them to examine how to play it. Therefore, this increases the effect of performance as an extreme occasion as it needs to happen less frequently and is therefore more hammy when it does.ReferenceSaid, Edward. Performance as an Extreme Occasion. Title of Book. City of take Name of Publisher, Year of Publication.