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Re:

Author: seabreeze
Date: 2019-05-19 17:33

I agree that performers should not be regarded as experts on acoustics and clarinet design and may easily convey myth and nonsense when they step into that arena. Still, there is some benefit just listening to competent and experienced players try various models of the same equipment, even if their explanations of what they perceive are scientifically unreliable.

Some feminists might object that the negative response to this presentation is rooted in a male addiction to "mansplaning" (man explaining) everything and insisting that males always know best.

Each player in the group has at least one degree in either clarinet performance or music. Claire Grellier has a doctorate from the Nice Conservatory in France and is working on a second doctorate in the US. She did grad studies in the US with Hakan Rosengren and Boris Allakhverdyan. Rani Sun and Gabriela Castro have bachelors degrees in music from Cal State Fullerton. Shaniee Kennedy has a masters degree in clarinet performance from UCLA, where she studied clarinet with Gary Gray of the L.A. Philharmonic.

So if all this formal education and training in applied music and performance did not lead to a sound knowledge of clarinet acoustics, shouldn't we be talking about that rather than getting grumpy and dismissive with the women? Should clarinet majors be required to take a course specifically in the basic acoustics of the clarinet? Is the absence of such a requirement a serious flaw in college and conservatory programs?

Post Edited (2019-05-19 22:00)

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