Saturday, July 3, 1971 THE MICHIGAN DAILY Poge Sticky Fingers': Sticky questions e Nine By RICHARD LEHFELDT James Waring, the choreogra- pher, defines dance as a motion or series of movements which the meaningless. The definition would obviously be met with a certain degree of mistrust and ,lisapproval by some. We all know that the Artist (bless its pointed little head) is as sensi- tive as an elephant is strong, as tricky as a circus magician, Once recognized, the Artist has upon his shoulders the task of delivering as regularly as pos- sible the fruit of his perceptions. This he owes to the ignorant masses, and should he fail to deliver a delectable product, his public has the right to turn up- on him, cast him aside as a false prophet, or even to re-evaluate the entire body of his work and strip him of the title of Artist. , ... Images message. (Lawrence Durrell, in a lecture a few years ago in New York City, noted that education was evolving to the point where it would be possible to digest a symphony by a measure-to-mea- sure musical analysis and there- by do away with the burden of having to listen to the thing). If a non-verbal art form does in fact "communicate" any- thing, its mesage goes beyond the realm of a verbal analysis. This is not to say that struc- tural analysis of a work of art is futile or unrewarding but one obviously loses a lot in at- tempting to reduce the intan- gible to the understandable. If rock and roll has accom- plished anything, it has been the minimization of the impor- tance of lyrics in a song. Music itself does not commu- nicate (in the general sense of the word); it is meaningless. And a song is by no means equi- valent to the noetic meaning of its lyrics. Yet, time and time again, we are confronted with critical analyses of a musician's work on the basis of his lyrics. We continue to hear terms like "counterrevolutionary m u s i c" and "sexist music" when these terms could in no conceivable way be used to analyse a musical product. Could one justify by analogy the use of such terms as "a-tonal politics" or "poly rhythmic chauvinism?"' I believe the origins of these f u n d amentally misconceived phrases lie in the stereotypic de- finitions of the Artists which were described earlier. For if the Artist is looked upon as the di- vinely-inspired mesage-giver of his public, that public will be- come very wary of just what he choses to communicate, how he chooses to live, etc. He becomes a leader and a representative; his faults become magnified and intolerable to his idolizers. And all of this despite the fact that, in music, one is dealing with a medium which is beyond "agree" o r "disagree," "r i g h t" or "wrong". Let us hypothesize that a Bri- tish rock and roll band that has been together for nearly ten years releases a new album. Let us add as background informa- tion that the group has been immensely popular for nearly all the time it has been playing, that it has produced a large volume of perhaps the finest music in the field, that it is in fact in the vanguard of what might in a moment of weakness be called "progressive rock," and that the record is the first new material released in nearly two years. Let us add as a final bit of evidence that the record is musically superior in every way and that everybody in fact loves it to pieces although many do- not like to admit the fact. Were such a situation to in fact oc- cur (and the chances are high that just such a situation is tak- ing place at this very moment), wouldn't it be in one's best in- terests to away with one's moral stoicism just for a while and en- joy this record to the hilt? USE DAILY CLASSIFIEDS > DIY45F Y *37Y4E.Y* c0 '1V TONIGHT! 9:30-1:30 a.m. featuring o My Friends no increase in price 50c cover OPEN: SunJuy4,630p.m.-230a 1< Mon., July 5, 12:00-2:30 a.m. 208 W. Huron o . '4OYEY* 4IDYSSY. ODY514yt as perceptive as Superman with It amounts to a fairly precarious his X-Ray vision turned up full existence. ~last. The Artist, we are often In talking about poetic forms old, sees through 'the social of communication, we fortu- blindspots with which the mere nately are unable to go much mortal struggles throughout his further than the written word. lifetime; he comunicates his It is the word, and in most sit- perceptions via the rubric of his uations nothing else, which is medium. These perceptions iso- synonymous with communica- late him from his fellow man, tion in this society. One would et him apart from and above hope that the arts at their best im. (Take a look at Sigmund do not communicate more effi- Baudelaire s eThe Albatross' ciently where words fail, but ra- for a concise-and poetic-ex- ther refuse to "communicate" at pression of these banalities.) all, hence the rather harsh de- Extending this theory, one finition of dance as meaning- might postulate a sort of pro- less. One does not, hopefully, ducer-consumer relationship be- listen to a piece of orchestral ween the Artist and his public. music in order to strain out a EUROPE $200 SPONSORED BY UAC Flt. Adm. Car. Seats Plane No. Routing Dep. Ret. Cost Chg. 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