Amateur" is his own expression, and he uses it in a clearly positive key (Musical Elaborations xvii).
For many years his conscious feelings were, that the experiences of the mid-1940s with Umm Kalthoum's singing had "either been superseded by substantial changes in [his] taste or forgotten and left behind in a past with which [he] no longer [has] an active connection" (Musical Elaborations 98).
17) The privateness of music and its autonomy as an art seems to be furthered, as observed by Said, by the notion that music does not share a common discursivity with language (Musical Elaborations 40).
He pointed to the fascination of Beethoven during his third creative period with fugal and variational forms, as "his way of getting away from the coerciveness of sonata form, opening music out exfoliatively, elaboratively, contemplatively" (Musical Elaborations 101).
In contrast, 'dominant' time was related in Said's experience to the sense of duty and the ethic of productivity (Musical Elaborations 100).
He wrote that his experience of Brahms's variations opus 18 is "threaded through" with the singing of Umm Kalthoum and other non-Western musics--along with Western ones (Musical Elaborations 97).
22) Among other descriptions of transgression, we read that "faculty music has to travel, cross over, drift from place to place in a society, even though many institutions and orthodoxies have sought to confine it" (Musical Elaborations xv).
26) Said quotes Boulez who suggests that Messiaen offers a paradigm "to think things through together, heterophonically, variationally" (Musical Elaborations 97, referring to P.
It is in the latter that the emphasis is on-and I resume Said's terms--"developmental tension" and "carefully constructed logical structure," rather than on variation and elaboration.
It would play a fundamental role for him in the formation of alternative ways of listening to Western music, emphasizing elaboration rather than development.