Klarinet Archive - Posting 000286.txt from 2004/04
From: "Bryan Crumpler" <crumpletox@-----.com>
Subj: [kl] RE: Competitions and Juries
Date: Mon, 19 Apr 2004 03:46:46 -0400
Thanks for the response Tony.What you're talking about is a completely
different topic, in terms of what's "better", what's not, and whether
someone is openly accepting to criticism. I am quite receptive to
criticisms, and adjust accordingly if I think it will help in my
performance... but I've even had ridiculous comments like "you need better
clothes"... which honestly, don't do anything to improve my performance. I'm
sorry I can't afford an Armani suit or a Perry Ellis tux to perform in...
but anyway.... the point in question is whether it's appropriate at an
"international" competition to penalize someone for his/her playing style as
being too connected to that of a different country or geographical area
(i.e. "too European" or "too American" or "too Asian" whatever the case may
be). I think any fair judge should be connected enough with styles around
the world to appreciate the differences as opposed to being geographically
biased.
B
http://www.whosthatguy.com
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Date: Sun, 18 Apr 2004 12:41:25 +0100
To: klarinet@-----.org
From: Tony Pay <tony.p@-----.org>
Subject: Competitions and Juries
Message-ID: <90958aa14c.tony.p@-----.org>
Just to say something about this topic from the point of view of the jury
member, which I have quite often been:
It's very, very difficult for an unsuccessful competitor to hear usefully
anything you say to them afterwards about their performance. I'd say that's
because in that particular situation, they hold your criticism not as
*something they might improve in their playing* -- as they would in a lesson
-- but as *the reason why they weren't successful*.
And then it's so tempting for them to say: the only reason that that jury
member could come up with for why they didn't like me was X (where X is
something fairly trivial).
As an aside, it's worth noticing that even in a lesson, it can be very hard
to get someone to perceive for themselves one of their faults, *as a fault*.
Indeed, sometimes this difficult change of perception is all that's
necessary
to correct the fault. How much harder then must it be for a disappointed
competitor to make the shift?
But actually, particularly in the final stages of a competition, the reason
why someone wasn't successful often can't be captured by identifying a
particular fault, or even a collection of faults.
It was just that, on the day, someone else's performance came over as,
simply, *better*; even including their faults!
Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd tony.p@-----.org
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
tel/fax 01865 553339
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