Klarinet Archive - Posting 000796.txt from 2002/05
From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] A Colour Symphony op. 24
Date: Thu, 30 May 2002 12:34:29 -0400
On Thu, 30 May 2002 11:14:40 -0400, mgustav@-----.com said:
> Since you bring it up... why ask questions then? Where will one go
> with an answer that isn't right or is one of many that are right[?]
> The Q&A is a system that is in search of something and that something
> cannot be a pile of answers of which none are "right". To say that
> there are many answers but none are right probably means that the
> wrong question is being asked.
The question, from a teacher to an student instrumentalist (perhaps I
should have made that clearer) was: "What film clip would you put to
How can such a question be a wrong one? It's purely operant in
intention, and is not saying anything about what the music really is.
> It is understood that the answer comes before the question and the
> effort is to find the right question. The answer is the piece of
The idea is that when you get the answer, you have something that comes
from the student against which to exert leverage for your next move.
> It is fine to ask questions but most of the time when one has an
> extramusical answer, they are content with that explanation or don't
> have enough musical education to go to the next level of
> questioning[,] which will limit their emotional reaction to the music.
> It's like a child reading a book that uses many "big" words within a
> rich and complex structure. There is just so much one can skip over.
> The point of the work will be missed and the feel or texture of the
> work will not be felt.
I agree that the structure is usually too rich and complex to yield to
such a simplistic approach. The technique is merely a beginning. I was
actually arguing on your side, as when I wrote:
> The simultaneous expressing of a whole set of abstractions, which is
> one way of saying what music achieves, is something different.
> ...sometimes with students it's possible to get them to begin to be in
> touch with some of these abstractions by asking them to reverse the
> procedure of the film composer, and imagine a film clip to put to the
> Because in order to do that, they have to ask themselves *something
> about the music in isolation*, and then create the film clip on that
I remember asking this question of a student who was 'going through the
motions' playing the Weber First concerto. He said that he didn't know,
but that the mood of the piece was 'calm'.
So I said, "What sort of calm? There's calm as in 'relaxed' calm, but
there's also calm as in 'calm in a dangerous situation', for example.
Can you unpack it a bit more?"
So he said, "Calm, as in happy calm."
I wasn't able to move him very much with that movement of the Weber
using this particular lever:-)
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
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