Comments on: About “channeling” http://rogerbourland.com/blog/2007/02/25/about-channeling/ Roger Bourland writes about music and life Fri, 21 Nov 2008 11:05:05 +0000 http://wordpress.org/?v=2.6.2 By: Roger Bourland http://rogerbourland.com/blog/2007/02/25/about-channeling/#comment-8390 Roger Bourland Tue, 27 Feb 2007 02:00:21 +0000 http://rogerbourland.com/blog/2007/02/25/about-channeling/#comment-8390 Good points Elaine--about composers already channeling--channeling our traditions. My friend John Hall called it "standing on shoulders." I never got into Rudolf Steiner btw, some of his work is intriguing, but it just seemed like a lot of effort to get Good points Elaine–about composers already channeling–channeling our traditions. My friend John Hall called it “standing on shoulders.”

I never got into Rudolf Steiner btw, some of his work is intriguing, but it just seemed like a lot of effort to get

]]> By: Elaine http://rogerbourland.com/blog/2007/02/25/about-channeling/#comment-8379 Elaine Mon, 26 Feb 2007 17:11:54 +0000 http://rogerbourland.com/blog/2007/02/25/about-channeling/#comment-8379 Thanks for reminding me about Abell. I also loved his "Talks with Famous Composers." I too have spent quality time with Cyril Scott, and I also went through all the requisite Cayce stuff that was practially required reading in the 1970s. As composers we are "channeling" all the time. Finding music in a text, or bringing a text to life as an opera involves using parts of our communicating selves that we do not really control. As practicing musicians we are in constant communication with the people who wrote the music we play, regardless of whether they are dead or alive. Some of the people I feel I understand the most intimately are people who died more than a hundred years ago because I live inside their music and read their words. Thanks for reminding me about Abell. I also loved his “Talks with Famous Composers.” I too have spent quality time with Cyril Scott, and I also went through all the requisite Cayce stuff that was practially required reading in the 1970s.

As composers we are “channeling” all the time. Finding music in a text, or bringing a text to life as an opera involves using parts of our communicating selves that we do not really control. As practicing musicians we are in constant communication with the people who wrote the music we play, regardless of whether they are dead or alive. Some of the people I feel I understand the most intimately are people who died more than a hundred years ago because I live inside their music and read their words.

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