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<div class="moz-cite-prefix">I realize that composers and performers
often have to think about music in terms of "notes", this can't be
avoided.<br>
<br>
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]<br>
From that point of view: Why the focus on "notes"? <br>
I.e., let's rewrite Carson Farley as follows:<br>
<br>
"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."<br>
<br>
Here's an example to consider: Renee Fleming singing O Mio Babbino
Caro<br>
<a class="moz-txt-link-freetext" href="https://www.youtube.com/watch?v=NU3bJ5JJhlw">https://www.youtube.com/watch?v=NU3bJ5JJhlw</a><br>
<br>
An analysis of the notes in the score will not reveal very much
about this performance.<br>
One could of course try to say that "it is what she does with the
notes" that explains the performance.<br>
But a more direct explanation would use terms such as: Voice,
breath, words, color, phrase, emotion, ambiance, space, time,
communication, warmth, ...<br>
(Those terms could be broken down into more analytical detail,
but might as well start with the obvious)<br>
The harmony, orchestration, melody (factors that can be discerned
in the score) have some role in the overall effect. 20% ? 30% ?<br>
<br>
<br>
The idea of a "note" is an abstraction, a simplification about
music. <br>
This simplification has value, but it misses a lot.<br>
<br>
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"<br>
<br>
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."<br>
<br>
In summary, I like Carson Farley's comment as far as it goes, but
it is not radical enough. <br>
<br>
-- Isaac Malitz<br>
<a class="moz-txt-link-abbreviated" href="mailto:imalitz@omsmodel.com">imalitz@omsmodel.com</a><br>
818-231-3965<br>
<br>
<br>
On 7/18/2014 3:16 PM, CARSON FARLEY wrote:<br>
</div>
<blockquote
cite="mid:811832282.22878943.1405721806921.JavaMail.root@embarqmail.com"
type="cite">
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<div style="font-family: times new roman,new york,times,serif;
font-size: 12pt; color: #000000">... 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. </div>
</blockquote>
<br>
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