{"id":387,"date":"2010-04-05T04:26:04","date_gmt":"2010-04-05T04:26:04","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/wp\/2010\/04\/product_and_act\/"},"modified":"2020-07-19T17:04:52","modified_gmt":"2020-07-19T21:04:52","slug":"product_and_act","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2010\/04\/product_and_act.html","title":{"rendered":"Product and Act"},"content":{"rendered":"<p>Let&#8217;s not make a categorical distinction between 19th-century musical products &#8212; publications for sale to a public of amateur players &#8212; and the recorded musical products of the 20th and 21st centuries. The work of the &#8220;composer&#8221; notating sonatas for sale to ladies of the bourgeoisie is the same work as that of performers and producers of 20th-century sound recordings. Both endeavors are <a href=\"http:\/\/sunsite.queensu.ca\/memorypalace\/parlour\/Small02\">musicking<\/a>, both bring a public into the process\/experience of music, facilitating further musicking.<\/p>\n<p>Can we distinguish musical product from musical act &#8212; or pro-cess from pro-duct? Professional, expert work is carried out. Let&#8217;s not see composers as distinct from performers. Let&#8217;s recognize that we are all processing, we are &#8220;producing&#8221; music.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"mt-image-right\" style=\"float: right;margin: 10px 0 60px 41px\" src=\"http:\/\/www.artsjournal.com\/pianomorphosis\/LSAJ.jpg\" alt=\"LSAJ.jpg\" width=\"300\" height=\"216\">Of Leopold Stokowski, Glenn Gould said: &#8220;The real benefit of his interest in technology, I think, was that it enabled Stokowski to resist the inhibitions induced by those pre-technological attitudes toward music-making which created the stratified roles of performer, listener, and composer, and which held that those roles must forever remain separate and distinct. And for Stokowski, I think, such distinctions are themselves the single greatest danger which the artist must face.&#8221;<br \/>\n&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Let&#8217;s not make a categorical distinction between 19th-century musical products &#8212; publications for sale to a public of amateur players &#8212; and the recorded musical products of the 20th and 21st centuries. The work of the &#8220;composer&#8221; notating sonatas for sale to ladies of the bourgeoisie is the same work as that of performers and [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1175,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[82,81,209,208,212,207,210,211],"class_list":{"0":"post-387","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-glenn","9":"tag-gould","10":"tag-musical-act","11":"tag-musical-product","12":"tag-musical-work","13":"tag-musicking","14":"tag-performance","15":"tag-stokowski","16":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/387","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/comments?post=387"}],"version-history":[{"count":1,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/387\/revisions"}],"predecessor-version":[{"id":5324,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/387\/revisions\/5324"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1175"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=387"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=387"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=387"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}