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Kaikkein väsyneintä on, että anonyymi huutelee sivusta osallistumatta itse mihinkään.
Varsinaisesti noissa AI jutuissa ei paneuduttu ollenkaan bluesin soiton perusteluihin tai perusteisiin vaan laulamiseen ja soittamiseen yleensä eri genreissä.
 
Tässä on siihen Bluesiin liittyvää:
 
https://jcla.in/wp-content/uploads/ … -46.1_Spring-2023_Julia-Simon-1.pdf
 
A Blues Aesthetic: Performance Practice, Politics, and History
 
2.1. Performance Practice
The emphasis on the present moment in blues performance practice highlights one of the underlying paradoxes of the aesthetic. Despite the fixed form of the AAB verse structure, repeating chord progression, and the use and re-use of commonly-held lyrics and riffs, the genre stresses musical art as inherently unstable process. The folklorist critical insistence on composition practices among folk blues artists highlights instability, even at the level of the song. David Evans (1982) writes,
Indeed, it is sometimes difficult to speak of folk blues as songs in the usual sense. Instead of repertoires of blues songs, we must often deal with outputs of blues performances. Many blues singers do not learn or compose blues at some particular point in time and then repeat them the same way in all subsequent performances. Instead, each blues performance often produces a new song, one that may never again be performed by the singer. In such cases, composition and performance are identical and inseparable.
While this composition-performance practice does not accurately describe the work of non folk artists like T-Bone Walker and B. B. King, who employed horn sections with pre-arranged parts, or artists with consistent performances across takes, like Robert Johnson and Memphis Minnie, it nonetheless captures an essential aspect of blues performance. Any particular performance of a song stands not as a copy of a canonized studio version that functions as a norm (like performance in relation to the written score in other genres), but rather represents one instantiation as part of a living process. The principle of repetition with a difference grounds an aesthetic enacted in and through performance. As Albert Murray (1976) emphasizes, this constant variety is not a result of sloppiness or lack of technique, but rather should be understood as a form of musical nuance that requires verbal and musical precision. In discussing musical practice in the blues, Murray develops the notions of play:
Blues musicians play music not only in the theatrical sense that actors play or stage a performance, but also in the general sense of playing for recreation, as when participating in games of skill. They also play in the sense of gamboling, in the sense that is to say, of fooling around or kidding around with, toying with, or otherwise having fun with. Sometimes they also improvise and in the process they elaborate, extend, and refine. But what they do in all instances involves the technical skill, imagination, talent, and eventually the taste that adds up to artifice.
Repetition with a difference in the immediacy of the present moment founds a performance aesthetic in which the work of art is understood as ephemeral process rather than fixed product. The degree of spontaneity in the blues may differ among sub-genres, but play in Murrays sense is crucial to the aesthetic.