Without useless premises, ready to administer caution, meaning and attribution of sense, I observe that in addition to the complex of reflections necessary to compose, a partial amount of time must subsequently be
dedicated to deciding a title. As Nietzsche taught, particularly thanks to its instantaneous and metaphysical effects, the choice of title is important. It has effects on the idea of the piece, as well as establishing possible accelerations or decelerations of meaning in the long term of professional operations. Titling a piece, for example, “Mirage”, without an accurate, albeit brief, research into reality or the overcoming of its main meanings, would certainly have a correlation with the ingenuity of the corresponding music.
B
Belmas
Member
Reply 2 by Belmas
Posts
20
dear friends.. at a certain age it is worth stepping aside, in an experimental setting and aimed at recording, with the pen and possibly prodigious devices, some signals.
with the pen perhaps or electronic ink, quantum and what not. I recommend the use of graphite, as a material with an established and at the same time
variable effect, even if this is exactly equivalent to the well-known metaphor that advises against teaching cats what they already know how to do. With this and setting aside the substantially
useless emphasis, and writing moreover in a personal capacity, let us allow ourselves to be gratified by the circumstance itself, which is moreover simple, of feeling like musicians still.
Because if one wishes, one can construct pieces that, when they begin, must be completed.
