Definition of Partnership in Music, 2021

  

Definition of Partnership in Music

(October 2021)

 

        An attempt to explain the concept

 

         Encyclopedia Britannica of 1990 defines partnership in the following way: “Partnership, a voluntary association of two or more persons for the purpose of managing a business enterprise and sharing its profits or losses”.

Britannica, possibly the best encyclopedia worldwide, has provided a definition that seems perfect. Nothing more, nothing less. It encompasses everything, clearly and concisely. I have to admit that it took me quite a lot of time to research a variety of encyclopedias. I finally came across the above definition, which I found most convincing. 

However, just after having read it, I  recalled an excellent, wise, and significant story told by Abba Eban about an inquisitive student who asked his Rabbi if the whole Torah could be reduced to just one sentence. The master replied: „Of course, yes. Do not do unto others what you would not want to be done to you. This is the whole Torah. The rest is commentary”. I suspect that this reply was spiced with a philosophical smile.

The partnership seems to constitute a similar case. The essence of the encyclopedic definition is reduced to a single, brief sentence. And herewith comes a commentary.  Naturally, a personal one as I would never venture to think even for a moment about providing a universal one. 

Let me begin with a reflection that partnership, similarly to culture and all creative human relations, does not happen by itself.  All these phenomena require effort, involvement, wisdom, persistence, and even devotion, as well as other similar, related values. 

In the case of music and performers, the indispensable condition seems to be the highest feasible level of individual professional abilities.  I do not mean any absolute values here, but rather the current level of a person, which can enable the partnership of pupils, students, and, finally, of mature artists.         

I decided to choose twelve of these important values for my personal commentary, without arranging them in any order of importance.  They may serve as a set of elements necessary to create a reasonably coherent whole.  Let me, therefore, present The Dodecalogue of  Partnership in Music.

          Here they are:

The first value: Shared responsibility for the whole performance.

          To put things into perspective, let me quote a phenomenal definition of the musical work created by our wonderful, invaluable Professor Kazimierz Sikorski: "Although a musical work is a unity, it consists of many elements: melody, rhythm, harmony, dynamics, agogics, articulation, counterpoint, form, and emotional content".         

          The soloist acts on his own, individually, on his sole responsibility.  His is the success and he is the failure. He does not have to reckon with anybody or anything.         

The responsibility for a partner-like, ensemble performance is of dual character; for an element or elements of the work performed by an individual and for the value of the whole work. A team performer should be constantly aware that his contribution, if meager, will degrade the final result, depreciating the efforts of the other participants.

The second value: Reciprocity         

          It is impossible to imagine a one-sided partnership, or similarly, a one-sided friendship. These two relations, perhaps the most beautiful ones which may link people, just cannot exist without reciprocity.   

One-sided,  unrequited love is imaginable to a certain extent.  But any expectations of happiness and success on the part of the infatuated person are his or her personal problem, and the responsibility is also his or her only

Apologies for quoting myself, but I have always thought that “the fact that I love you neither obliges you in any manner nor entitles me to anything. “

The third value: Understanding the partner 

I perceive such understanding both in the literal and wider sense. 

To understand somebody, simply and literally, seems an important thing – more important than we usually think.  Every person, even if he or she shares the same mother tongue with us, expresses his thoughts and chooses his vocabulary following a characteristic pattern; each of us has an individual sense of humor, intonation, and a style of approaching others.   Such seemingly trifling details can be a source of common misunderstandings which are sometimes so irritating!

The wider meaning of this aspect which reaches deeper into the domain of psychology embraces the knowledge of individual features of a partner, including his temperament and personality.  

Gender differences are also important for me, among other things.  I have always have had a different sense of being a musical partner to a man and a woman.  It might seem that this aspect is irrelevant from the purely professional point of view, but at the same time, it is a nuance that may influence the comfort of being together. 

The fourth value: Openness to dialogue

I quite enjoy the adage that two monologues do not make up a dialogue. When each of the partners is focused only on his part, without any connection with the utterances of the other partner, the dialogue is simply not there.  It concerns both the musical professional dialogue and the everyday coexistence of one human being with another.

The fifth value: Readiness to understand the otherness of the partner

          Although it is generally known that every man is unique and one of a kind, this fact is surprisingly often overlooked in everyday relations. This is particularly true for a long-lasting arrangement with a partner or partners.  These understandable differences often turn into a problem when the initial attraction gives way to almost unavoidable irritation.

          Also, it is not so easy to accept the fact that the readiness to understand the otherness of the partner should be reciprocal; our partner should be equally willing to understand our idiosyncrasies, just as we understand and accept his.

          The awareness of this phenomenon is invaluable as it greatly facilitates all and any ventures into this delicate and extremely sensitive territory.

The sixth value: Internal space

          I mean primarily the space for thoughts that allows for relatively conflict-free existence and collaboration with a partner, free from doctrines, narrowed aesthetic preferences, world-outlook, moral and historic bias, not to mention any traces of racial connotations.  

          Such space and such freedom provide the luxury and comfort of being and working together with a partner and is an almost 100% guarantee of the freedom of artistic expression without any sense of threat and other discomforts.

The seventh value: The ability to hear  the partner and oneself at the same time

          This ability is one of the fundamental differences between solo and ensemble performances. The fact that the soloist only hears himself is by no means a discovery. In turn, an ensemble musician is obliged – really obliged – to hear himself perfectly and at the same time to hear and understand the partner.  

           I am sure that it is not only an ability but also a skill which can be taught.

            I don't see any special reason to make people aware that the ability to hear and listen is truly important and precious if one is infatuated with creativity, performing art, and also with everyday life.  After all, doesn't this duty to listen to oneself, to hear, listen to, and understand one's partner apply just as much to making music together as to every day being together with another person?

The eighth value: Good manners in togetherness

         It might be worthwhile to remind those good manners are obligatory for being together with another person in any circumstances, both professional and in personal life. I feel that if good manners became a common practice in human relations, all codes and decalogues might become redundant. 

Good-mannered behavior and approach to others seem to be in particular demand for any team activities, especially in the atmosphere of creative tension and involvement in the work.

The ninth value:  Tactful reduction of tension

          It seems obvious to me that certain tensions are unavoidable in any partnership, even the most comprehensive and perfect one. It would be naïve to think that partnership is just cakes and ale forever.

          It seems also that an instinct to fight is inherent in humanity.  Therefore it seems paramount that the vectors of forces in such a fight should be directed towards the common good and not against one another. 

          Tensions in a partnership may stem from the richness of human nature, but they may also result from seemingly trifling situations which sometimes carry a hidden potential for a more serious conflict.         

          Intense situations it is simply invaluable to show good manners, tact, goodwill, and human kindness that help to solve the difficulties as they arise.      

It might be also worthwhile to realize that certain discomforts felt while being together with another person are to a certain extent mutual and the partner may also feel uncomfortable with me. Ah, the reciprocity requirement in partnership never ends!

The tenth value: The ability to accept compromise

          Any attempts at uniformity usually end up a failure. However, they offer space for compromise which allows the freedom of speech.  It seems an obvious approach to the sensitive issue of individual preferences.

It might be very helpful to realize that the interpretation of the musical phrase does not necessarily have to be identical for all performers in the ensemble, as all of them are professionals and therefore none would propose any musical nonsense.   Certain divergences and nuances of opinions that result from understandable individual differences may make the performance more attractive and colorful.  

The eleventh value: Respect and confidence in the partner

          The confidence and respect for the values cherished by the partner are obvious things.  Naturally, this does not concern only the general, professional skills, but also the purely humanistic values, the approach to life, interactions with others, the ability to cope with challenges and various co-existential problems – in brief, to all the facets which combine into a full personality.

The twelfth value: Understanding for the imperfections of my partner... and my own

          The English adage Nobody is perfect immediately springs to mind here but is not just a handy phrase.  The understanding and acknowledgment of this obvious, albeit inconspicuous truth, protects against harmful, even excessive irritation and allows us to keep the distance from our own imperfections.  It may even prevent destructive frustrations and exaggerated dilemmas.  

          Well, errare humanum est. It is a human thing to err.   Errors are included in the costs of progress and development, and the fear of making errors may be worse and more destructive than the errors themselves.  It is one’s own decision either to notice a positive, creative side of this uncomfortable phenomenon or to consider only its destructive and negative effects. 

          As it has already been said, my commentary on the encyclopedic definition is personal or even authorial. The concept of partnership is so vast that its reasonably comprehensive discussion would hardly fit into a sizeable trilogy. Therefore, a selection was unavoidable.   I hope that the aspects presented here provide a reasonably compact and precise image of this absolutely fascinating relationship present in our professional and private life.

I am well aware that my comments on partnership are just an idea that does not necessarily find a reflection in reality.  However, I console myself with the thought that even the Decalogue with its “Thou shalt not kill”, “Thou shalt not commit adultery” and “Thou shalt not steal”  quite often fails to reflect the actual relations between people.  Personally, I keep calling “thou shalt be a partner” and yet I still hear “Thou shalt be an accompanist” echoing around.