Who has this particular thing and who doesn’t? For people who previously considered themselves non-musicians, Christoph Reuter provides counter-proof in his book All Music – Except Some. By doing so, it relaxes the conceptual field that has traditionally been considered elitist in university education. His humorous style of writing enables the work of musical and historical mediation, shaped by the aspects of the author’s various professional activities: the enormous wealth of knowledge of the book reflects the ingenuity of the studied pianist; The music teacher shows that he is interested in showing his music readers. And in the lightness of love with which all people share his definition of music and at the same time adds “except some” with a wink, the cabaret artist plays.
interactive reading قراءة
Knowing too well that sharing is the added value of his interest in communication, Reuter works with interactive reading by asking people to perform simple experiments in which he can discover his music. For example, if you jot down the first tones of “Happy Birthday”, you can at least distinguish two tones – and therefore they are musical. In this way, the book offers vocal exercises, dance instruction, and even the basic fundamentals of music theory. If you wish, you can even use it to teach yourself to read notes. And this requires neither individual education nor the Internet: “Do not google it!” Reuter warns again and again.
“There is no such thing as perfection.” This sentence, to which the author devoted a separate chapter, is the basis of the entire book as a dogma. As sympathetic and healthy as Reuter’s position is that perfection in music is ultimately unattainable, the pursuit of it is indispensable in preparation for a performance. No pianist sits at the piano to play Bach without at least striving to make it perfect. Perfection plays an important role in the recording of “Well-Tempered Clavier” by jazz pianist Keith Jarrett as in Glenn Gould’s. Reuter does not take into account that the quest for perfection is culturally rooted in the understanding and practice of performing at least the classical and romantic repertoire, without which studying at a music college would not make sense. It’s no different in large parts of pop music since the ’80s: without an ideal dedicated to perfection, Michael Jackson’s album Thriller (1982) would not have been what it is.
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