Le 06-12-19 à 02:12, David Powers a écrit :
I strongly disagree, because, his point is NOT meant only to apply to performing, but equally to creating/composing. In fact, I don't think he was really talk about performance at all. What indication do you find that he's referencing performing as opposed to producing/arranging/composing? And laying out a score for a symphony, isn't so different from laying out .WAV or .AIFF files (or Midi pianoroll) in the digital sequencing program of your choice.
You're right that he was emphasizing the composing aspect -- that wasn't what I had in mind when I wrote my first sentence.
What I thought was that your examples (the jazz student who "learns a bunch of scales off a page" and John Coltrane who practices patterns from Slonimsky's Thesaurus of Scales) referred to the learning or formative process, which wasn't really linked to RH's point.
Now, of course, I guess you could argue that the formative process is intrinsically linked to the composition process...
Should a composer not use any form of visual notation because some people become fixated on such notation to the detriment of the music? The very idea is ridiculous. If your music suffers from such visual aids, it simply means you aren't a good musician/composer.
~David
On 12/18/06, Guillaume Grenier <grenier.g@xxxxxxxxxxxx> wrote:Le 06-12-18 à 19:38, David Powers a écrit :
> Another example (again not from the digital domain): > Every music school has their students in, say, the jazz program, who > learn a bunch of scales off a page but can't seem to ever use their > ears and put those patterns together in a musical way. But John > Coltrane was known to practice extensively from Slominzky's Thesaurus > of Scales (which is simply an abstract representation of basic musical > building blocks), and I think everyone would agree this only enhanced > his ability to improvise.
Yeah... but I don't think the argument you're making here relates much to RH's point.
A more relevant analogy with regards to a "traditional musical score situation" would be, I think, a comparison between a musician who performs a piece with a score versus one who performs a piece from memory.
To me (and to the vast majority of classical performers, I'd venture to say), there is no question that playing from memory is vastly preferable. You are much more free to listen attentively — deeply — to the sounds you (or others, if you're doing chamber music) produce when your mind doesn't have to process a significant amount of visual information.
It is thus no surprise that find myself in agreement with RH's view.
g.
-- Guillaume Grenier - grenier.g@xxxxxxxxxxxx
"Things are more like they are now than they ever were before."
(Dwight Eisenhower)
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g.
-- Guillaume Grenier - grenier.g@xxxxxxxxxxxx
"Things are more like they are now than they ever were before."
(Dwight Eisenhower)
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