Klarinet Archive - Posting 000106.txt from 2005/03

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] German sound
Date: Thu, 3 Mar 2005 11:24:54 -0500

Your argument about language impacting sound character is one
that already came up, or at least was proposed.

Now don't take this personally, but I find that people from Texas
and people from Brooklyn talk funny. Regional accents are
important in language. But I don't think that Texans or
Brooklynites have developed a unique sound character in any case,
much less one that can be argued as having derived from the
idiomatic speech patterns.

Why the last time we were together, I had to get a translator to
tell me what you said, and then another translator to tell me
what you played!! :-). And the first translator was from
Mississippi who required a translator all of his own.

The patters of sound character as being influenced by language is
a dog that will not hunt.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Forest Aten [mailto:forestaten@-----.net]
Sent: Thursday, March 03, 2005 7:38 AM
To: klarinet@-----.org
Subject: RE: [kl] German sound

Dan Lesson: "Well, each person hears what they hear,"

Dan,

I agree with you in this "nationalist school" issue...but...

In your first sentence we may all have a clue as to why so many
people
identify and parse players into "schools" in the first place.

Hearing...

What people hear in a player may be the strong reflection of the
primary
language spoken by the player being listened to. I have only to
point to
your first sentence for the hint. (I know, I know...you've given
us dozens
of reasons why people "hear" what they "hear") The "sounds"
between
languages are different by degree....sometimes very different.
What if,
since music is an aural art form, a particular way of playing can
be
strongly associated with a player's language? (Forget this
"nationalist"
vent, although language IS a regional consideration)(I didn't say
exclusively associated...it makes it tougher).

We have objective criteria that can be used to evaluate the
"sound" produced
when we listen to spoken language....and many of these criteria
can be and
are often used to objectively describe what music "sounds" like.
Pitch
Timbre
Duration
Inflection
Articulation
Etc.
* All reference to "color" will be reserved for you next novel

I know you've discussed this issue in the past. Are you able to
identify (if
any, in your opinion) a relationship between the language a
player speaks
and the way they play ("sound").

Regards,

Forest

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