Interestingly, from a neurophysiological standpoint, there are several primitive reflexes that affect both hand and mouth - working with learning disabled children one can clearly see how they grimace and contort their tongue when trying to accomplish fine motor coordination. Likewise, children often show improved speech when undergoing hand therapy. The same phenomena is probably seen in performers who grimace - not just musicians but athletes as well. e.g. Watch how basketball player Michael Jordan uses his face and tongue when making a basket.
-----Original Message----- From: William Samson <willsam...@yahoo.co.uk> To: lute <lute@cs.dartmouth.edu> Sent: Thu, Aug 22, 2013 5:35 am Subject: [LUTE] Re: Time to work on how we look? Oddly enough, classical musicians seem to be better at this than early music people - who often appear in ill-assorted outfits, hippies that time forgot, or just plain scruffy. Look at orchestral conductors for example - Is there any highly regarded conductor who doesn't have floppy, bouncy hair? It's one of the tools of the trade. Likewise female 'cellists - The long, crinkly Pre-Raphaelite hair, preferably hanging over the face, is what the audience expects. Some early music outfits are, of course, appropriately stylish - but many don't quite cut the mustard even though their musical performance is impeccable. I remember, too, that classical guitarists always wore tails to perform - Segovia, Bream, Yepes - but then John Williams broke the mould with his fancy shirts and Chelsea boots, about 50 years ago. Interesting at the time, but somehow took away from the sense of occasion. As for facial expressions - They're part of the story but by no means the whole thing. Musicians need to know their audience, respect them and entertain them. Bill -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
