Cosmiclawnmower wrote: Gurdjieffian

I don't think that anyone will ever discuss this, because the link is ... distant ... and difficult, but it is correct.

The development/experimental setups for rehearsal, are directional and related to many exercises that are suggested in Gurdjieff's work, and many results are seen in the cohesion of the work at its end, or at its performance in this case. Catch the end of the movie "MEETINGS WITH REMARKABLE MEN" to get a better idea ... the co-ordination and beauty of it all, is astounding, and you sit back, and just wonder ... how ... what ... and there are no words for it, more often than not.

I've discussed many of these elements in regards to acting, with Peter Brook's ideas and concepts, which are also used in music in some places, but are not "accepted" in rock music, because it ain't no 4/4 ... and the design of the music is limiting to the artists and players ... you have to make room for some freedom and possible ideas, but these need to be centered on a platform that will not hurt the new material possible from the piece one is working on ... there is a difference, but one process helps define another, and that is what rehearsal should be, instead of people worrying about the note being wrong, and the chorus not being where it should be ... kind of thing.

All in all, if you see "The Tightrope", you will find that a musician is also accompanying the actors through their exercise, and adjusting the music to the movements, and this is something that most rockers are afraid to do, since they are tied to a bass and a drum (time keeper!!!! wow ... waste of a musician!) instead of tied to the piece of music, and its dream, and its conceptual idea to help elevate it ... and you might want to watch the few clips of the breakdown of John Bonham's drumming work on the tube, so you can get some better idea of how a design can be changed and augmented, by intelligent musical details, that are just as much "designed" as they are "intuitive", and this is something that is very difficult to teach, but it requires listening and a certain amount of freedom of expression, that few people have, and are capable of using within their own music, since they are so tied up to a DAW and it's timers, which ground the music down.

The idea is to free it, not to tie it down ... to a definition or process, and this is what "progressive" was all about ... before definitions killed the ability of people to try new things.

whoops, two words