On 4 Mar 2003 at 22:29, Dennis Bathory-Kitsz wrote:

> At 07:55 PM 3/4/03 -0500, David W. Fenton wrote:
> >But Dennis's argument seems to be that, for his music, at least, 
> >there really is only one correct reading, and all others are mis-
> >readings, and that for lots of other music, there are only a small 
> >number of appropriate readings, and any performance with even a 
> >single wrong note is to be discarded, no matter the quality of the 
> >musical expression overall.
> 
> That's an extreme re-reading. In fact, I explicitly exempted accidents of
> performance.

But you seemed to me to be discarding flawed performances in general, 
such as the Horowitz return concert, which I saw live on TV and of 
which I have the LP, and which I think is absolutely electrifying 
music-making. You discarded this gloriously exciting and riveting 
performance on the basis of the clinkers in Horowitz's playing.

> There are many correct readings. But none of them are correct (accidents
> excepted) unless they respect what has been specified by the composer.

So, how do you notate dynamics? With key velocities? With decible 
levels? Anything else is ambiguous and open to interpretation,  so if 
you're complaining that performers don't respect your intentions, 
then maybe you're not being as explicit about your intentions as you 
think.

> In those terms, with respect to the majoriy of new nonpop performances,
> well-wrought Midi remains to my ears the clear winner.

In terms of accuracy of realizing your intentions, I guess so.

But do a thought experience:

Could a different person take your MIDI data and rework it in a way 
that would produce an inappropriate performance, working only from 
the printed score? If so, then the problem is not in the medium in 
which the performance is realized, but in the mode of transmission of 
the musical content.

-- 
David W. Fenton                 |       http://www.bway.net/~dfenton
David Fenton Associates         |       http://www.bway.net/~dfassoc

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