Prelude From Musicking Christopher Small Summary

In the “Prelude” from Musicking by Christopher Small, the definition of musicking is strictly an action or “to take part…whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing.” To a degree, I agree that “to music” is an act that includes those who work on a performance, whether it being formal or informal, play an important role in the success of musicking. Small includes many rhetorical questions, like “What’s really going on here?” in attempt to make his definition of “musicking” the answer to controversial questions that may arise and remain unknown to many. Despite being an action, “musicking” isn’t all perfect. As he describes the roles of the performers to the audience, he states that the performers are being used to produce a work or “give performers something to perform.” Yes, the performers are producing a piece that was previously produced centuries ago but the performers who are currently creating the work have ownership of the sounds that are being created from their own hands and instrument and the ownership of the piece belongs to the composer. …show more content…
Small doesn't give credit to the performers, making them objects of the work. He also states that a “musical performance is a one-way communication system” and a “social vacuum”. Small considers a performance a one direct connection between the composer or performers to the audience, meaning the audience is considered as an “interference” and is not believed to question the performance or reasoning behind it. If this is true, then how will the performers know whether or not the performance was enjoyable or how has the evolution of music