Klarinet Archive - Posting 000974.txt from 2000/07

From: LeliaLoban@-----.com
Subj: [kl] Learning practices
Date: Thu, 27 Jul 2000 20:00:44 -0400

David Hattner, NYC wrote,
>It is my opinion that as musicians we have something
>of a duty to understand performance traditions, both
>good and bad. Recordings are the only way to get close
>to performers who have been gone longer than we have
>been alive.

I agree with that. Sometimes I serve on science fiction convention panels
where the speakers talk to young writers about how to write criticism. (I'm
a book and movie critic.) One thing I like to mention is the old saying, "If
you do your background research in only one source, it's plagiarism. If you
use more than one source, it's research." Same goes for getting ideas from
listening to performances, IMHO. Instead of discouraging students from
listening to *any* other performances, I think music teachers could do better
by encouraging students to listen to *a lot* of performances. Listening to
various interpretations helps students understand and respect the tradition,
as David Hattner discusses, while minimizing the chances of students
mindlessly copying any one performer.

Tony Pay wrote,
>>I find that listening to what other people do tells me at least
>>as often what I *don't* want to do myself.

As professional clarinet players, David Hattner and Tony Pay already have
developed critical ears. Students need to learn to listen critically, too,
another good reason to encourage them to listen to as many performances as
possible. I think I would be wary of a Svengali-type teacher who forbade
students to listen to recordings of works under study.

I've known people who studied with charismatic but controlling teachers who
acted dictatorial, teaching *their* interpretations as the *only* valid
interpretations. When a teacher says, "I don't want you to listen to a
recording because you might copy someone's performance," it may mean nothing
more than that, but it may *really* mean that the teacher demands exclusive
power
over the student and regards recorded performances as competition that might
lead the student to question or disobey the teacher's word of law. Thoth
forbid
the student might enjoy and imitate the performance of the teacher's despised
rival! Those students become dependent on their teachers to an unhealthy
degree, IMHO, and can have a lot of trouble maturing. They either cling to
perpetual studenthood or they rebel wildly (often disastrously) instead of
making
a natural and gradual transition to maturity and independence. I prefer a
teacher with enough personal security not to pose as some Ultimate Fount of
Wisdom. A secure teacher encourages research for broad knowledge.
Listening is one of the best forms of research a music student can do, it
seems
to me. (Fine excuse to lie around listening to music and pretending it's
work,
too . . . . "But Mom, I'm not goofing off. I'm *studying this
performance!*")

Lelia

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