Hello, One should weary of musical interpretation imposition. Music is to be interpreted by each dancer (both roles) and that is what makes them (hopefully) unique.
A great teacher will convey the ideas and the tools to explore the music and how certain things are commonly named (they're just that). It will also create space for the student to do his own search and limit boundaries to the minimum possible. It will let the student appropriate himself of his findings and build his own notion as to what tango music is, what makes it tango and danceable the way we love it. I wholeheartedly disagree with the idea that tango music is fundamentally by on arrastre, glissando, slur or whatever you want to call it. Most of us know tango pieces without it. Poema comes to my mind. Defining tango music and dancing in function of a musical concept is kind of insulting persons that have listened, studied and danced for years tango music. If you're composing tango music, I'd say that it is not the first thing that comes into your mind or the first in your priority list. Concerning dancing to the dots on paper vs sounds, if the paper is well made, that is, the music score sheet I assume, they will be dancing to them on the music or not. It's up for interpretation. The score will have - within boundaries - the info necessary to play it syncopated or whatever. If I am allowed to, may I suggest that everyone should dial down a bit the fundamentalism. All things considered, there isn't a perfect teacher, a perfect musical interpretation or concept even. Great teachers become evident to anyone serious about tango. It takes time but you need to go through the process. b -- Bruno Afonso http://brunoafonso.com (personal, mostly portuguese) http://openwetware.org/wiki/User:BrunoAfonso (Professional, english) _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
