I am most profoundly not saying that by getting out a magnifying glass, or a
sequencer, to objectify the differences between a student's and a teacher's
realization of a piece, to identify as fully as possible what is different,
that the student can subsequently get to the "IT" of the piece, that the
student will understand BEAUTY, that he will finally comprehend the entire
universe of unknowns and unknowables.  I am saying that throwing up one's
hands before looking closely, very closely, to see what CAN be discerned,
and invoking the Great Mystery Gee-you-will-never-get-the-ineffable approach
is unfair, and, I suspect, fairly common.  I know that music teachers
sometimes don't realize that boredom and fatigue keep them from even
realizing that they are not digging deep enough to help their students.

Hey, I'm not pretending to have even a tiny toehold on the G T of M.  The
mystery is still there, I'm just saying that the the workbench it is on the
other side of is bigger and has more tools on it than is often realized.

>I guess you are more advanced than I am on my Grand Theory of Music,
>then. I still haven't quite worked out how all those small,
>measurable, and discernable differences make one performance into
>something that drops your jaw and brings tears to your eyes, and
>another performance just makes you shrug and say, "That was pretty
>good." Being able to measure them doesn't necessarily make you
>understand them, unless you are a much more dedicated theorist than I
>am...  ;-)

>Seriously, though, I'm sure you grasp that you don't have to
>subscribe to mysticism to realise that you may not be able to
>understand something perfectly. I'm no mystic, I have never hugged a
>tree or had my spirit leave my body, but I know that some music talks
>to me in a barely understood language, and some music doesn't, and I
>don't know why exactly, though I really want to know how and why, and
>may never find out EVERYTHING about it.

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