Talk:Musicality

more precise definition for musicality in composing/performing

-To have ability to grab onto a feeling, to "hone in"/perfect technical aspects in the craft, this case being music.

-This can be heard through combination of swing, tempo and dynamics variation all in such way that they can create either a sad or uplifting feeling that other musical people recognize even if only a single note is played repeatedly. Some people are not actually able to recognize (in some cases, any) feel in music based on research done, atleast not without being taught. Shuffle and/or swing is typically the key element in dance music for creating the feel that invokes urge to dance.

-As personal note, it is not only related to music, the "gifted" tend to produce results that stand out from the mediocre in pretty much anything they do - which makes sense if one has ability to "hone in" or perfect a production beyond levels that the non-gifted have.

It is a word that musicians use in place of "talented/gifted" - perhaps because it would be come out as "racist" to recognize that people are different and musicality could be genetic instead of some kind of thing you could learn through lot of work. That's not to say there wouldn't be personal benefit from "fake it till you make it" approach. The radio/tv/youtube is already full of mediocre "talent" so trying to flood them with more doesn't "rock the boat".

I have come across some recent personality research which suggests there is certain "base personality" that is genetic. "five temperaments" is related but more vague concept because the temperaments can shift due to environmental stressors. The genetic personality research suggests there are actually physical responses that cannot be faked and do not change. Aspect of this research is that there is certain type of personality that is much more sensitive and has more emotions and more emotional. My own conclusion is that this is most likely connected to musicality/"gifted producer" - extreme sensitivity to imperfections and feeling, to be able to feel something and then just improvise either through means of production - such as writing, composing or producing a live improvised performance. — Preceding unsigned comment added by 82.181.249.156 (talk) 19:28, 8 August 2015 (UTC)

This

This should be a distinct topic from dance musicality and should have its own page.

Timmothias 01:09, 20 April 2006 (UTC)

Removing irrelevant material

The following paragraph presently appears at the end of the 'Notes' section. However, it is irrelevant to the discussion of musicality in dance, and will at best confuse readers. Its topic is an aspect of authenticity in musical composition; since it lacks any references (and has other issues, including clarity) it would be of doubtful value in an article on that subject. However, somebody may wish to reuse it in a more appropriate place in Wikipedia, providing references can be found for it; so whilst I will remove it from this article, it is preserved here for possible reuse:

"Musical Input" A composer who wishes to gain musicality from their own inspiration, should allow sufficient musical input to enable 'writers path'. Writers path is the influx of creativity which is derived from musical sources outside from those written by the musician, in their own time. The influx depends on the variation of the musical substance the writer exposes themselves to, ie. Continual musical exposure of a repetitive nature would naturally "stammer" the musicality of the creative mind. It was indeed composer Bach who once noted "the only composition in which a composer should dedicate their sincerest listening time to, is that of their own". Many of the great Austrian composers of contemporary classical music even went as far as refusing to listen to any other musical scores, so that they could be attributed for their own musical input into their pieces.

yoyo (talk) 02:43, 6 February 2013 (UTC)

Actually, I'd say most or all of the "notes" are irrelevant to defining and explaining musicality. For example:

“ Slower music gives dancers more time to play, more time for style and variations. Faster music forces dancers to be more creative in their application of style, or possibly use simpler variations depending on the skill of the dancer. ”

What the hell does that have to do with musicality? Should we also include how tempo impacts guitar solos and the synchronizing of a movie soundtrack? It is nonsensical in this specific article. --Kaz (talk) 18:11, 15 July 2017 (UTC)

Removed irrelevant details on dancing

Basically the complete contents of the "Notes" section was entirely misplaced. This is a page about musicality not a page about what makes a good dancer. Musicality is very important for becoming a good dancer indeed, and the traits of a good dancer listed here are indeed important ones, but none of this serves in any way to get a better grasp of the somewhat nebulous term of musicality 93.104.25.161 (talk) 21:40, 8 March 2018 (UTC)