At 08:00 PM 2/2/03 -0800, you wrote:
Yes, I think we do agree Toby. No one should claim to have found "the only correct way* to make Scottish music and then expect to cram it down everyone else's throats. (This applies to all of us, not just historical musicians).So I guess I'm agreeing with you here Cynthia, in that it's fine to agree to disagree on something that we're all basically just guessing about...just as long as it doesn't stop people from trying to create their own unique take on the music.
The problem is folks who decide that because we can't agree on the precise performance practices of the old music that we should *all* ignore it as if it didn't happen and doesn't matter. (Instead of "agree to disagree", I'd far prefer "live and let live").
Here's a living example: it was by studying the history of the harp that Alison Kinnaird fully realized that the clarsach was a solo instrument. This led to her making the first solo traditional harp recording. And look where that has brought us! Look at all the wonderful things being done with the clarsach today!
The study of history can be precisely that which moves the music forward. Denial of the history is like putting blinders on. You'll miss seeing the trees...the landscape...the context of your journey. Folks can travel that way if they want, but it baffles me. I'd rather keep my eyes open and enjoy the whole experience, and bring that to the music.
--Cynthia Cathcart
http://www.cynthiacathcart.net/
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