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)
---------------------------------------------------------------------
To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
website: http://www.microsound.org