We are on the same page i think ...
Thanks for your adding remarks...
For sure when i distinguished musical time and physically measured time, i was also speaking of polarites like un the usual Extreme opposite concept of time polarities between Furt, and Celi...Bernstein being more in the middle and for me more Beethovenian in his Egmont than Celi for sure... But speaking about this polarity between Furt and Celi , I was speaking about classical interpreted written musical score...
This polarity between musical time and physical measured time is so important in jazz , i discovered it when i read about a black musician in Us , i forgot who, who was instructed by an African musician about the necessity for the music to "roll" ... He tested this african musician with pieces of european music, and often the African did say "it does not roll" even with some jazz sometimes..
Intrigued he decided to go to Africa...And the end of his story is that he finally understood what "rolling means"...
I interpreted this anecdote by listening to the way some interpretation of playing jazz musicians goes the fine line between this polarity: between measured repeated intervals of physical usual time and musical time sentences and beating "rhymes" in and out of usual flowing time... The pattern is a rolling resonant waves for me something akin to poetical time and resonance in speech compared to prosaic means...The African Youruba speaking drums are spectacular example of this in the hand of a master able to make the drum roll and speak and certainly one of the inspiration in the black soul origin of jazz......Time is no more flowing so much but metamorphosing itself into being ...Time unchained rolls...
I dont know if my post make sense for a seasonned musician... I am not one at all... I only listen.... đđ
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