The problem is where history becomes an end in
itself
to me it's like a velvet trap.
couple an artist's arrogance with an aggressive application of the hip
principle to any other art or discipline (...painting... automobile
manufacturing... early standards of hygiene...etc;, etc...) and
I wholeheartedly agree!
Thomas
Am Sam, 2004-08-28 um 19.09 schrieb [EMAIL PROTECTED]:
In einer eMail vom 28.08.2004 15:07:43 Westeurop=E4ische Sommerzeit schreibt=
=20
[EMAIL PROTECTED]:=20
These comments here touch on a what is for me a very crucial part of what=20
I, as a re-enactor
A quote from the american renaissance faire magazine
Renaissance about this subject=20
Almost little music used on faires is actually period, but the
music does=20
not damage the illusion of living history, because it seems
period. The case=20
could even be made that music is an
Greetings bill,
At 03:17 PM 8/30/2004, bill wrote:
first off, i'd have to say that you are 100 times the musician i am.
You are far too generous, bill. I get this with some frequency...until my
accuser actually hears me _play_ music. All such illusions are immediately
shattered.
so,
- Original Message -
From: Stewart McCoy
Date: Fri, 27 Aug 2004 20:46:58 +0100
To: Lute Net
Subject: Lute on Open Air Festival 2
Dear Bill,
The question of HIP is not confined to the world of early music. In
the field of bluegrass, for example, there are enthusiasts who
provide the atmosphere for the
continuing learning process.
Best, Jon
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Stewart McCoy [EMAIL PROTECTED]; Lute Net
[EMAIL PROTECTED]
Sent: Friday, August 27, 2004 9:40 PM
Subject: Re: Lute on Open Air Festival 2
The mistake
i posted this once before but, briefly, in a thread in the classical
section of the mandolin.cafe site concerning the earliest, therefore
most hip, spelling of the word mandolin, someone contributed this:
Personally, I'm not that much interested in this but rather the
reality of the
Howard wrote:
Eugene C. Braig IV
Owain Phyfe of New World Renaissance Band fame was
playing. For any who have not seen this spectacle, Mr. Phyfe plays on a
modern steel-string guitar with six single strings...but crafted to ape the
aesthetics of the old Guadalupe vihuela. Afterwards, I
Dear All,
Alain wrote:
This is the paradox: we love HIP and the lute in part because they are =
new=20
and therefore exciting. The big question is: how will we keep it =
exciting,=20
for ourselves and those who will come after us?
I very much share Alain's interest in this question. It's easy
Dear All:
I too have heard Owain, some time ago, and while I was tempted to
criticize his approach, he was making some good music, so I didn't.
Yours,
Jim
James wrote:
I too have heard Owain, some time ago, and while I was tempted to
criticize his approach, he was making some good music, so I didn't.
James,
I hope my comments about Owain and HIP did not come off as a criticism of Owains
performances. I've got some of his CDs, and have
In einer eMail vom 28.08.2004 15:07:43 Westeurop=E4ische Sommerzeit schreibt=
=20
[EMAIL PROTECTED]:=20
These comments here touch on a what is for me a very crucial part of what=20
I, as a re-enactor wish to bring to the organization I work with, the SCA.=
=20
I wish you luck in your
I think You should look up tautology in the dictionary, which is good for
one's diction, should you know.
RT
Descartes proposed a tautology, Cogito ergo Sum (or would you call that an
axiom?). For me it is easier, Bibo ergo Sum (although I sometimes wonder
if
it should be Sum ergo Bibo).
You make a good point here, Stewart, one I feel I'd like to elaborate
upon. One reason a performance of early music can never be authentic is
that all performances will lack an authentic audience. When Bakfark's or
Piccinini's music was new and exciting, nothing like it had been heard by
Hi all,
Personally, I see HIP as a step in the direction of the revival of the lute
as a modern instrument. What we are learning now from the old sources
cannot be a complete goal in itself - for one thing, the place for
improvisation in the music of the time was unquestionably crucial (look
Dear All:
I think the key to HIP study and performance is to get past the idea of
playing music of another time written by long-dead composers. The ideal, as
the late Barbara Thornton put it, is to take ownership of the music, to
make it ours. Thus, when I get up to play, I'm playing my
Eugene C. Braig IV
Owain Phyfe of New World Renaissance Band fame was
playing. For any who have not seen this spectacle, Mr. Phyfe plays on a
modern steel-string guitar with six single strings...but crafted to ape the
aesthetics of the old Guadalupe vihuela. Afterwards, I engaged Mr. Phyfe
The mistake is to equate HIP with being boring. Both HIP and non-HIP
are equally capable of being boring or not boring. For example, if I
were to imitate exactly your gleeful murdering of tempus est
iocundum complete with American accent and accompaniment
of Bolivian charango, it could be
i've been riding around on my tractor all morning mulling over what you
say in your letter (since joining the list, early music and all its
concerns have replaced dark, dead-end metaphysics as a prime topic of
internal debate).
it occurs to me that formally trained musicians and composers like
bill
it occurs to me that formally trained musicians and composers like
yourself have always been at odds with musicians like me who will
gleefully murder a tune and disregard learned opinion if it feels ok
to do so.
this must be very irritating.
the only consolation i can offer you is
To Bill:
it occurs to me that formally trained musicians and composers like
yourself have always been at odds with musicians like me who will
gleefully murder a tune and disregard learned opinion if it feels ok
to do so.
We haven't heard you do this, yet. An example?
this must be very
On Giovedì, ago 26, 2004, at 17:45 Europe/Rome, Roman Turovsky wrote:
Beethoven played by a Papuan, on
a stick and a hole
that's very good, roman - the mind boggles. personally, i think it
would be charming but point taken...
salute - bill
Dear Bill,
There's nothing wrong with Hip (Historically Informed Performance).
If we want to play music from the past, it makes sense to find out
as much as we can about how that music was once played. I can think
of two reasons:
1) Academic, i.e. studying history for its own sake out of
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