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For the most basic assumption that dictated my early attempts to respond to creative music commentary was the mistaken belief that western journalists had some fundamental understanding of black creativity—or even western creativity—but this assumption was seriously in error. ↗
Musicians add to songs and they evolve: For as was true of human effort, there was never advancement. Everything added meant something lost, and about as often as not the thing lost was preferable to the thing gained, so that over time we'd be lucky if we just broke even. Any thought otherwise was empty pride. p. 380 ↗
...as a pianist, I can’t say I was always a big fan of contemporary music. The challenge of late Beethoven, or Mozart, or Schubert seemed to me to be somehow greater or more worthwhile than that of learning difficult, ill-placed notes. To me, the kind of transcendence in the older pieces really was more interesting. That’s not to say I didn’t love the contemporary pieces I did play. I became very attached to the ones I learned, and I played them with pleasure and absolute commitment. It may be terrible to say this, but playing some of that music is like having a handicapped child. You love it all the more for the problems that it gives you. ↗
I had once been splintered into a million beings and objects. Today I am one, tomorrow I shall splinter again. And thus everything in the world decants and modulates. That day I was on the crest of a wave. I knew that all my surroundings were notes of one and the same harmony, knew - secretly - the source and the inevitable resolution of the sounds assembled for an instant, and the new chord that would be engendered by each of the dispersing notes. My soul's musical ear knew and comprehended everything. ↗
