Gay Men In Public Tolite

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I've already talked about my friend who graduated in Aesthetics in Bologna with a thesis on improvisation in film and music. There is a paragraph of text that called for an aesthetics of imperfection riproporvi I want full, with his consent. This post is dedicated to my students, because they do not ever think that we must strive for perfection at all costs.

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means if you suddenly take risks and go to places musically surprising and unknown risks and if it is part of hiring the fact that some aspects of the result can not be very happy, then we must resort to an evaluation criterion based on aesthetics of imperfection.

There is also a beauty of the incomplete, and it is this raw beauty that can be taken as a criterion for assessment of jazz improvisation. By adopting the aesthetics of imperfection [...] does not evaluate the improvisation as a product, but as a relationship between process and product. For this you can appreciate the courage and the risk to the efforts made, giving recognition to testing and the ability to broaden the horizon of reference. This is obviously not an apology for the error or the license to fail. It is the recognition of the fact that forms of imperfection often repurchased are held when the musicians engage in a genuine attempt to improvise without succumbing to the temptation to fall back on cliches. Imperfections, however, not due to laziness or clumsy execution, but the involvement in an experimental and research. (DAVID SPARTI, Sounds unheard: improvisation in jazz and in everyday life , Il Mulino, 2005, P.200)

Miles Davis was popular with critics for his wrong notes or missed . Should we therefore conclude that he is a trumpet player technically limited and mostly inaccurate? Maybe yes, if we analyze it with the tools of traditional musicology. In fact, more likely, he agreed to take risks that many other musicians have carefully avoided:

that Davis would not make mistakes or not prepared to avoid them: ideally would have wanted to play right on the limit and you're never wrong. In practice, it was closer than others to the limit, and accepted the inevitable missteps. In this sense he does not present a polished product to your audience and worthy of admiration for his strictness, but a complex process of search and struggle with the music. Davis does not offer patterns to transcribe music, check out and play at home. But it is important to appreciate the fact that Davis will be constantly exposed, making the trumpet playing even more difficult and risky than it is [...]. (DAVID SPARTI, Sounds unheard: improvisation in jazz and in everyday life , Il Mulino, 2005, p.201)

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