Klarinet Archive - Posting 000102.txt from 2001/01
From: webler <webler@-----.net>
Subj: RE: [kl] Technique and Musicality
Date: Tue, 2 Jan 2001 23:23:25 -0500
I am presently in the process of trying to develop a demo CD, using
PowerPoint, to advertise the drum video that I have done. On one of the
slides I give my definition of technique, which I think may apply to this
discussion. If it doesn't it won't be the first time I was wrong.
"Technique is the ability to play any particular musical idea with the
proper dynamics, tempo, and musical finesse at any given moment".
Jay Webler
-----Original Message-----
From: Doug Sears [SMTP:dsears@-----.net]
Subject: Re: [kl] Technique and Musicality
I'm not surprised the quotation pushed a few buttons, considering the
number
of American orchestral musicians on the list. I'm afraid I did Mr. Ross a
disservice by quoting only a few sentences. He did give details of which
orchestras he thought were dynamic, and which look "like dinosaurs in
shrines." He also discussed which conductors led their orchestras to
risk-taking, exciting music-making. You'll have to read the article; don't
blame Ross for my overcondensed version.
Ed Lacy wrote:
>Are we to conclude that in order to enhance the emotional qualities of
music
>we must strive for inaccuracy in rhythm and intonation?
That's not a logical conclusion to draw from Ross's writing. However,
there's
certainly truth in it to a degree. Think of computer-synthesized music,
which
becomes more lifelike when slight random variations in both rhythm and
intonation are added. What do you think of the Vienna Philharmonic's
long-term reputation for musicality at the expense of accuracy?
--Doug
----------------------------
Doug Sears dsears@-----.org/~dsears
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