Editorial

In their capacity as instrumental musicians, brass players are constrained to support the academic practice of their art, constantly and regularly. It seems that this is a fundamental condition if we wish to maintain our position in professional musical life.

As far as the numerous teachers are concerned who transmit the academic tradition, it seems that they are (or must be) satisfied in the role which has come to them of intermediary.

Despite these obligations and the routine which they produce, the essential thing is to maintain contact with the various movements of contemporary musical thought and execution. These movements often develop in an unforeseen or unforeseeable way, obliging us to remain open and attentive.