Hey guys, I dunno if any of you read this book, I did sometime back and it's very insightful for any musician (jazz or not) I suppose especially the performing types @j-qak take note Far more than only music I personally like the fact that he makes an extensive commentary about the very nature of our systems and its pitfalls and his experiences in deconstructing them..it's a mindset thing actually.
Where does fear originate? From the mind? Yes, but not the ”universal mind,” or the ”over mind,” or the ”collective unconscious.” Rather, fear originates in our ”little mind.” One may call that little mind the ego. Let us set aside the Freudian and post-Freudian debate on what the ego is or isn’t. For our purposes, we are referring to the ego as the limited ”I”consciousness. It is the lens through which we perceive our competition. This is where problems originate: he’s younger than I, more talented, and so forth. By contrast, dissolution of the ego and union with the divine is the goal ofIndian music. Oneness with the universal mind is called sadhana, the supreme act of ego surrender of merging individual identity into the objectworshiped.” The trancedancer has the same goal.Tyrannized by our egos, we live in a state the Hindus call maya, or delusion. Engrossed in maya, we can’t see the magnificence of who we really are. We think we need so much. Desires multiply, and we knownothing of real inner happiness. ”The clouds of emotion obscure the clearsight of the soul.” We seek safety in ”job security” and obsess about our level of play. Fear sabotages us at every turn. Taking an honest inventory of our musicianship is difficult. Some feel more comfortable condemning themselves totally than accurately assessing their strengths and weaknesses. They are usually defeated by a sense of futility before they play the first note. Others believe themselves to be better than they are, not wanting to face the gaps they need to work on. Their performances tend to hit or miss, but they rationalize that their best performances are how they really play, and their worst performances are flukes. It’s not really them. In this way they avoid fixing and cleaning upwhat needs to be fixed and cleaned. In either case, the disclosure of flawsin their playing hurts. Because there is so much emotion attached to theflaws, the latter group would try to overlook them, and the former would usethem as evidence that they stink. Improvement is delayed for years, or perhaps forever.
Edited by encryptedmind, 20 December 2017 - 08:56.