Timeline for What does play with feeling mean?

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when toggle format	what		by	license	comment
Jun 13, 2021 at 1:57	vote	accept	zooby
Nov 21, 2019 at 9:06	comment	added	Graham		@leftaroundabout I did say "traditionally". Things are getting better. :) Interpretation and improvisation are closely linked though - you can interpret a bit differently if you feel differently at that point, and conversely much "improvisation" actually doesn't vary much on the night (rock guitar solos, for instance). I do think interpretation is the gateway to improvisation, getting you used to being in that moment. As you say, it comes up eventually, but it's much further down the line.
Nov 21, 2019 at 2:27	comment	added	leftaroundabout		@Graham that's just not true. Every good classical teacher will also teach “feeling” aspects of the music. Not improvisation, no, but interpretation, which unlike you say is not considered a form of improvisation. And maybe it's not in focus in the first couple of years, because on most classical instruments there is a certain minimum of technique before it makes sense to go into this, but eventually it'll sure enough come up. — Of course, some teachers may never get to that point, either because they're themselves not on that musical level or the students are unmotivated. Thus my “good”.
Nov 20, 2019 at 22:40	comment	added	Darren Ringer		Good answer. I think of printed music as a set of constraints. What is and is not notated shows what must and must not (by implication) be played - but the player is free to shift any and all variables as far as possible without breaking what's written. I.e. between mf and f there is room to play softer or louder, while still remaining firmly in that band of volumes. A given tempo can vary by a couple bpm and nobody will be the wiser. Many pieces don't even give a numeric tempo so there's even more room to bend it. Intonation can be adjusted (on many instruments) to change timbre or mood.
Nov 19, 2019 at 19:41	comment	added	eps		It's like in other forms of art such as painting or drawing or writing. You need instructors to first teach you the rules so you understand why and how to break the rules. It can be hard to comprehend as a student because the great works of art in any of these areas are made by people who seemingly break all the rules you are learning.
Nov 19, 2019 at 9:20	comment	added	Tim		@zooby - Music teachers have to work to time restraints as much as anything. Possibly you weren't at the point of adding that aspect to your pieces at the time of the exam. It is the 'icing on the cake' and the 'cherry on the top'. Getting the notes right is more important. No-one can play with feeling if they can't even get the notes right. Start preparing earlier for the next one, to add 'feelings' into the performance!
Nov 19, 2019 at 9:19	comment	added	Graham		@zooby Classical music teachers almost always focus on technique, and traditionally aim for synthesiser-like accuracy. It's notable that improvisation isn't any part of the classical syllabus until grade 8, for most systems. Compare this to grades for electric guitar or drumming, where improvisation is taught from the start. Playing with feeling as Topo describes is a form of improvisation, and it needs to be practised. Try listening to some folk fiddle players and playing yourself - the tunes are simple, giving the players (who have great technique BTW) a framework for playing around.
Nov 18, 2019 at 22:59	comment	added	Нет войне		@zooby some musicians who are familiar with a limited range of styles of music may not actually know exactly what they are doing to achieve a certain 'feel', even though they may be doing so very successfully. Unfortunately this probably includes some teachers!
Nov 18, 2019 at 21:51	history	edited	Нет войне	CC BY-SA 4.0	added 1 character in body
Nov 18, 2019 at 21:50	comment	added	zooby		OK this answer makes the most sense to me. Funny how my music teachers never told me this!
Nov 18, 2019 at 21:48	history	answered	Нет войне	CC BY-SA 4.0