Kertsopoulos Aesthetics - Guitarist: a) playing b) performing c) interpreting

7/25/2019 Kertsopoulos Aesthetics - Guitarist: a) playing b) performing c) interpreting

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Kertsopoulos Aesthetics the how and the whyPart 1: Introduction

Everyone in her/his own way contributes to the guitars evolution

By: Yorgos Kertsopoulos

In our everyday communication we tend to associate the amateur in a field with someone wholoves what she/he is doing but does not get paid for it, whereas the professional in the field gets paid for

his output.

In the real essence of the meanings of these words and through our prolonged in time

experiences, however, we can all realize that an amateur knows how something is-or can be done in his

field of interest but the professional knows much more than that how,simply meaning she/he knows the

answers to many whysand to many why is orwhy is not involved in doing or making the same thing.

Even more, results obtained in this way by serious applied professionalism, certainly give

inspiration to other people concerned so that specific directions are laid down for everybody in the field to

try to do things the best waypossible and not in any way

possible.

Of course, there is a vast

mix-up of the above-mentioned

quantities and qualities and there

are many professionals that have

an amateurs attitude and many

amateurs that show a remarkable

professionalism in the sense of the

essence already described, so, weare dealing in all cases and fields

with a synthetically colorful

mosaic of human behavior, not

easily lent to borderline analysis.

Details of the high-pitched, scalloped fingerboard and movable back

pedal Kertsopoulos guitar - photo: Y.Kertsopoulos

Three main stages characterize the progress of a guitarist: a) playing b) performing and c)

interpreting,words that apply mainly to the guitarists but are also applicable to the luthiers and the string

constructors in a parallel manner.

The initial playing stage of the guitarists is full of stirred and strong emotions accumulated to

reinforce the learning of the guitar, the instrument that makes their inner world vibrate with colorful

sensations. The pieces and works as such become a second priority in regard to the first, which is: lets

playthe damn thing in any way possible.

All guitarists pass through this stage in one way or another and are promoted from listeners to

playersand although they still remain listeners, by being promoted toplayers, they listen now to the same

music in a more critical and consciously searchable way than before. An amateur defined stage.

Some stay at this a) playingstage forever and with obtainable experience succeed to transform

the any way possibleto the useful for them: the easiest way possible.


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Others, progress on to the b) performingstagewhich includes a serious study of the technique

and the performance mechanisms and many detailed requirements involved in becoming one a respected

performer on the instrument. Under professional teaching procedures they learn the ways and manners of

disciplined and programmatic exercising on the instrument.

Also, they learn for every case involved to upgrade theeasiest way possibleof theplayerto thevery refined the best way possible and if they can perform successfully alongside the great known

performers - in comparison and also become acceptable by their audience, they become performers ofthe instrument.

This b) performing stage is a semi - professional stage having about half of the whysanswered.

Both stages of playing and performing apart from the differences that separate them have asa

hierarchy the same priorities, out of necessity of course, the first priority being the guitar in its relation

with the guitarist but the music being played/performed on it always remaining asecond priority.

The c) interpreting stage demands that the guitarist is already a successful performer on theinstrument having mastered in her/his way all the technical difficulties so that the guitar and the guitarist

can easily pass on to the role ofsecond priority. It is evident that at this stage the first priorityis given at

all times to the music being interpreted. The musical style is considered, along with the theoretic structure

involved in the music, additive to all other factors such as the historical time the work was composed, the

instrument or voices it was initially written for, including the musical trends, habits, forms, tunings and

timbres of the instruments, acoustic peculiarities of the places of performance, social conditions, etc.

Furthermore, this stage tends to promote questions of the type: what means do we have and also

can employ today, so that our inner subjective understanding of the work interactively complies with all

the outer objective requirements to produce eventually a successful interpretation? At the interpreting

stage every possible detail should be registered, taken into account, be analyzed and eventually becomesynthesized in an effective manner, so that the work performed possesses as a whole the most numerous

best ways possible of interpreting, justifying objectively and by all means the musical work itself.

Few guitarists (in analogy) reach this stage but it is certainly a most rewarding stage because it

reveals the extra-ordinary innermost hidden beauty of the composition, both to the guitarist and to the

recipient audience. Serious professionalism according to the essenceof the meaning as above described of

course grows only from this stage onwards and it also provides the interested parties with the strict

interpretational criteria whenever these are needed.

Also, when the inner subjective experience studies in a dialectic manner the outer objective

criteria one has already entered in the field of aesthetics which applies also in this case.

The changing forms, tunings and number of strings along with the timbres of the guitar in its

continuing historical evolution has been influenced by all three types of guitarists:players, performers and

interpreters, and all types of luthiers and string constructorsand this provides the beauty of the vast field

of human interaction, prompting us to realize that all transcendental inspirations, from all levels, are and

can be transformed into musical happenings in our lives.

Everyone in her/his own way contribute to the guitars evolution as the instrument travels

dynamicallythrough our history waiting to be disturbed - playedby eachindividual.


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A classical-flamenco guitar soloist, composer, professor, luthier and string constructor, the Greek

Canadian Yorgos Kertsopoulos is also a researcher, inventor, author and founder of "the Guitar's

mathematic model and Geometric progression" (DAS MUSIKINSTRUMENT, Heft 9/ Sep. 1984, in

German and English "The Physics of the Guitar"- Presentation of the same at the International Music

Messe-Frankfurt, College of Furniture-London and seminars to respected luthiers and guitarists of

England invited by GUITAR magazine). his work is so unique in its scientific approach but also so fullof traditional truths, it includes everything...Jose Ramirez (at the press conference given by

Y.Kertsopoulos at the Music Messe in Frankfurt-1983). His work as Kertsopoulos aesthetics involvesthe constructional revival of the different forms, tunings and sound timbres the guitar possessed in its

history.

These guitars possess antique sounds, sounds with an ancient charm. Amalia Ramirez 7 Feb. 2009.

Blog:http://kertsopoulosaesthetics.blogspot.com/

Kertsopoulos Aesthetics on youtube:http://www.youtube.com/user/gkertsopoulos

http://www.youtube.com/user/sgregoriadou

https://www.facebook.com/kertsopoulosaesthetics/

https://www.facebook.com/gkertsopoulos

Yorgos is the author of:"Space-Time Theory Vol. A' The Philosophy of Space-Time"
http://kertsopoulosaesthetics.blogspot.com/http://kertsopoulosaesthetics.blogspot.com/http://kertsopoulosaesthetics.blogspot.com/http://www.youtube.com/user/gkertsopouloshttp://www.youtube.com/user/gkertsopouloshttp://www.youtube.com/user/gkertsopouloshttp://www.youtube.com/user/sgregoriadouhttp://www.youtube.com/user/sgregoriadouhttps://www.facebook.com/kertsopoulosaesthetics/https://www.facebook.com/kertsopoulosaesthetics/https://www.facebook.com/gkertsopouloshttps://www.facebook.com/gkertsopouloshttp://space-timetheory.blogspot.com/http://space-timetheory.blogspot.com/http://space-timetheory.blogspot.com/http://space-timetheory.blogspot.com/https://www.facebook.com/gkertsopouloshttps://www.facebook.com/kertsopoulosaesthetics/http://www.youtube.com/user/sgregoriadouhttp://www.youtube.com/user/gkertsopouloshttp://www.youtube.com/user/gkertsopouloshttp://kertsopoulosaesthetics.blogspot.com/

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Kertsopoulos Aesthetics - Guitarist: a) playing b) performing c) interpreting