Klarinet Archive - Posting 000752.txt from 2001/09

From: Ann H Satterfield <annhsatt@-----.com>
Subj: Re: [kl] Jeering about Cage
Date: Sat, 22 Sep 2001 23:42:32 -0400

"Mark Charette" <charette@-----.org> writes:
> ----- Original Message -----
> From: "Ann H Satterfield" <annhsatt@-----.com>
>
> > Not that there aren't scam-masters in the arts.
>
> In the realm of music: Such as, and why do you feel they are?
[snip and rearrangement for answer]

> I have trouble defining what I consider scam artists, even though I
> believe there are such people. But I don't know who and what -
> or why. Just because I don't like a lot of the contemporary
> pieces I hear doesn't _make_ them "scams", though I may
> think so at the time I hear them.
That is the main point I was wanting to make, Mark.

> And just what the heck is a scam in the world of "music"? In the
> "hard" arts a forgery may be a scam if it is intended to deceive
> for profit, since there's physical ownership involved, but is a
> forgery in music (such as a composer putting another's name
> on a piece) a scam, forgery, or a smart PR move? Or all the
> above? especially if it's good (or saleable or some such other thing)?

To answer this is going to take some thought and time...

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