On Mon, November 19, 2007 9:05 pm, David W. Fenton wrote:
> On 19 Nov 2007 at 20:37, Dennis Bathory-Kitsz wrote:
>
>> So what is expected? That the sophisticates want a skeletal version onto
>> which they can hang their ornamentational or chromatic laundry? And that
>> the non-sophisticates are given no guidance or suggestion?
>
> I voted for leaving the score as it is in Dennis's example, since
> there's not one thing about it that has any ambiguity at all.

It's ambiguous to the ears of a non-specialist singer. I haven't forgotten
how hard it was the first time I sang "Ma bouche rit" and "Io pur respiro"
in 1968. I still have my marked-up pages, trying to make sense out of
phrases that didn't match barlines, resolutions that didn't resolve,
chromaticism that just had to be a mistake, etc. It looked wrong and
sounded wrong, just as "Dove Descending" did. And 20 years later I brought
a wide repertoire from the Tournai Mass to "Chichester Psalms" and "Dove
Descending" to an amateur choir. I know they would have sung both the
F-sharp and the E-flat in Dennis's example because it would make sense,
wouldn't it? Of course it would! So much so that I inherited random early
music from other choir directors with clearly incorrect accidentals added
in because they made perfect sense to the non-specialist musician.

But only David Bailey has really tried to answer this question: what is
wrong with including the courtesies? Is the editor just too afraid to
insult the potential sophisticates out there, the folks who see believe
"there's not one thing about it that has any ambiguity at all"? Is the
editor unsure? And how do you know what's not ambiguous, all these
centuries later? You might be informed by scholarship, but you and they
might still be wrong. Barbara's ears and eyes tell her what's right -- and
she's a modern person, as we all are. What's to be feared in these
editorial suggestions of disambiguation?

Dennis




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