Text 21808, 88 rader
Skriven 2014-12-15 12:04:00 av NANCY BACKUS (1:123/140)
     Kommentar till en text av MICHAEL LOO
Ärende: Re: music 431
=====================
-=> Quoting Michael Loo to Nancy Backus on 12-13-14  06:23 <=-

 ML>> The Telephone phenomenon is minimized in situations
 ML>> where repetition plays a more important part, as in
 ML>> earlier slower times.
 NB>> Quite so.  And in those times, there was probably more focus,
 NB>> which also minimizes the "telephone" phenomenon...  :)
 ML> Probably. And given the lack of competition from
 ML> other stimuli, doing an exact learn of a piece of
 ML> music could have been in the realm of normal players.
 ML> I'm not exactly a prodigy but can duplicate a not-too-
 ML> intricate song after a couple hearings.

I've successfully used rote learning with my early piano students, as
well as some more intricate rote learning with a talented blind piano
student...  And that's in today's world..  ;)

 ML>> Music notation was invented probably not much later than
 ML>> any other kind of notation. The earliest verifiable was
 ML>> from ancient Egypt but looks to my untrained eye pretty
 ML>> much like any other clay tablet writing. I have no idea
 ML>> how it was determined to have depicted music.
 NB>> I had that, along with other ancientnesses, in mind... :)
 ML> I seem to recall papyrus from the same region, but whether
 ML> that was posited or discovered (also the timeline) is
 ML> beyond my memory.

I suppose that if we were sufficiently interested to follow up on it,
there would be places to research such...  Eastman School of Music's
Sibley Library comes to mind as a repository that probably would have
such...  ;)  Probably even courses that could be audited..  (G)
 
 ML>> It was sometime during the renaissance that our
 ML>> current system evolved. By the baroque it was
 ML>> mostly as we know it now, but even at the time of
 ML>> Leopold Mozart, say, many treatises were written
 ML>> regarding how to write and interpret the symbols,
 ML>> so it was a pretty hot topic then.
 NB>> And it continues to be a hot topic today, at least in some circles...
 ML> I can't speak to more recently than 1975, when I
 ML> participated in a seminar on the subject that drew
 ML> heavily from that same Leopold. 

My experience has been much less formal... mostly by exposure to
musicologists, both friends and family... :)

 ML> I took the unfortunate tack of relying on a somewhat
 ML> frowned-upon musician from I believe UCLA named Sol
 ML> Babitz; later it became clear that the general dismissal
 ML> of the guy's theories arose more from his Jewishness
 ML> than their intrinsic lack of worth. 

Shame on you for basing your assessment on worth, not the much more
important ones of perceived status or lack thereof..  (yes, dripping
with sarcasm...)

 ML> I also had a course in mediaeval prosody
 ML> where I championed yet another marginal scholar with
 ML> the rather evocative name of Edward Billings Ham and

Was he any relation to the famous William Billings...?

 ML> had the pleasure of being dressed down for it by a
 ML> professor professing the same subject at the same
 ML> institution forty years later.

You do seem to have the knack of picking the dark horses... ;)  It's
a bit of a shame it takes so long to be vindicated, though... ;)

 ML> Mix ingredients for glaze.*
 ML> Heat ridged griddle pan; add olive oil, cook gammon steak
 ML> 5 min each side.
 ML> Simmer white wine in small pan until reduced by half; add
 ML> 15 g butter. [M's note: deglaze ham griddle with white wine;
 ML> add some cream instead of butter]

 ML> * I don't know what the glaze is for [M's note]

I'd guess one is supposed to use it on the gammon steak while cooking
it... 

ttyl           neb

... There is no feast that does not come to an end.

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