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Klarinet Archive - Posting 000420.txt from 2010/11

From: "Shaw, Tim" <Tim.Shaw@-----.au>
Subj: Re: [kl] Sabine Meyer
Date: Fri, 26 Nov 2010 05:04:24 -0500

Arthur, I think you've made a very salient point.

Sabine Meyer's "ducking and weaving" is irritating because it appears to be an affectation
(but perhaps it's the way alll clarinettists from her home region move when they play, in which case it isn't an affectation)

I've also seen and heard Roland Kirk and other blind musicians play and I agree that their movements are different
Roland Kirk and Ray Charles moved in a stiff, robotic fashion that was the antithesis of the music they palyed, for those who havn't seen them.

And on the contrary (to Meyer) Louis Armstrong and other supremely creative musicians appeared frozen rigid when they were palyin their best stuff, as if their whole body was focussed on the music.
I can only marvel at others like Ralph Kirkpatrick and other blind keyboard players who managed to play most of (JS) Bach's output, presumably entirely by ear. They didn't move much because they were bound to the keyboard, but I doubt they would have moved, even if they were able.
Anyway, I think that a blind person unable to see Sabine Meyer's ( probably affected) movements could not fail to be impressed by her phenomenal technical skill and beauty of her tone (despite the handicap of all thatb extra keywork).

_____________
_________________________
From: Arthur Acheson [arthur.acheson@-----.com]
Sent: 26 November 2010 19:07
To: The Klarinet Mailing List
Subject: Re: [kl] Sabine Meyer

On 25 Nov 2010, at 10:30, Taylor, Noel wrote:

Music has rhythm, the body feels it - the body wants to move. Dance
is deep in us - and after all, a lot of classical music, including
Mozart, is based on the dances of the period. What the heck is the
problem about moving? It's natural.

Question. How natural, as opposed to learned, is the type of movement
in the Sabine Meyer video?
I ask this as I have worked with blind musicians and observed blind
musicians such as Roland Kirk, Ray Charles, etc. and their movements
are of a totally different kind. Could this be because their
movements are 'natural' as opposed to affectations?
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