[Smt-talk] The Ubiquitous Triad - The Ubiquitous Note

[Isaac Malitz]

I realize that composers and performers often have to think about music 
in terms of "notes", this can't be avoided.

However, let's take the point-of-view of the listener, the analyst, the 
scientist (the scientist of music)  [these are not identical points of 
view, but they have a certain amount in common]
 From that point of view: Why the focus on "notes"?
I.e., let's rewrite Carson Farley as follows:

   "Just as physics moved in modernity into the new realms, so must 
music.  A NOTE is in many ways a relic of the past no longer relevant to 
contemporary science/practice unless of course the desired result is 
traditional sound/music."

Here's an example to consider: Renee Fleming singing O Mio Babbino Caro
https://www.youtube.com/watch?v=NU3bJ5JJhlw

An analysis of the notes in the score will not reveal very much about 
this performance.
One could of course try to say that "it is what she does with the notes" 
that explains the performance.
But a more direct explanation would use terms such as: Voice, breath, 
words, color, phrase, emotion, ambiance, space, time, communication, 
warmth, ...
    (Those terms could be broken down into more analytical detail, but 
might as well start with the obvious)
The harmony, orchestration, melody (factors that can be discerned in the 
score) have some role in the overall effect. 20% ? 30% ?


The idea of a "note" is an abstraction, a simplification about music.
This simplification has value, but it misses a lot.

I think there is an unspoken assumption that "People hear music as 
notes. And then mentally, inside their big-brain-computer, they 
construct 'music' from the note-sequences that they hear"

Here's an alternative view "People hear music in very complex ways, a 
mixture of experiences, some of which are quite primitive. A 
somewhat-organized delirium of experience (ref: Boulez). At times, 
*some* people will hear *individual notes* within this delirium, or they 
will abstract some notes from the immediate experience. These notes are 
often somewhat different from what was actually performed."

In summary, I like Carson Farley's comment as far as it goes, but it is 
not radical enough.

-- Isaac Malitz
    imalitz at omsmodel.com
    818-231-3965


On 7/18/2014 3:16 PM, CARSON FARLEY wrote:
> ... Just as physics moved in modernity into the realm of microcosm, so 
> must music.  A triad is in many ways a relic of the past no longer 
> relevant to contemporary science/practice unless of course the desired 
> result is traditional sound/music.

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