Ricardo -> RE: Is Logic Necessary To Win an Argument. (Feb. 3 2015 21:52:46)
|
quote:
ORIGINAL: runner Ricardo, could you share with us an example of the circumstances of your losing an argument and thus learning something new? You don't need to reveal the details of the dispute(unless you want to), but it would be instructive to have your testimony. Was the argument conducted as a direct You versus Them confrontation or exchange, either face to face or via email or message board or whatever? I can't recall in my own case where a direct, confrontation-type argument I was in ended up with anybody changing their minds at that time. I have rethought my positions quite often after hearing others dispute an issue, when I have been convinced that both sides were actually well-informed, and better-informed than me on the subject. Then I've gone off and the digestion process I referred to before takes place; I try to find out more about the subject and to figure out what's going on. Couple examples. 1. On steve vai message board many years ago, a guy named "brainpolice" and I had a long back and forth about modes versus keys. At the heart was this seeming silliness: If you have a basic chord progression like, Am7-D7...and that's really it to the song, I felt there was absolute no difference from thinking or describing it as either "dorian" or, ii-V7 of G major. Two sides of the same coin. He claimed if there is no resolution V-I, then it can only be described as modal, never as "G major"...and thus one needed to THINK also differently about the music. After a long time I came to realize I did not understand fully the concept of MODAL music as a term....and after reading much about it in a book by a French author whose name I forget, but focused on TUNNING SYSTEMS, I realized there really was something to the other guy's logic. I never really could convince him however, that in flamenco music, they were NOT simply hanging on the V chord in minor, but non the less I had to admit his simple logic was correct in describing certain musical contexts that used equal tempered tuning, and mine was in fact NOT correct. 2. More interestingly, I don't think it was truly an arguement, but when NORMAN was on years ago describing solea vs Solea por buleria, I realized there to be a more specific terminology I didn't have in my vocabulary to distinguish individual cantes mixed in a single form. Specifically the buleria larga or corta and solea de jerez frijones, I used to all count as ONE form, called "Solea por buleria" and found it riduculous that certain aficionados claimed that term had no meaning to cante....but it turns out it's true. Call it what you want, there is a BETTER more precise description for individual letras.....Very mind opening. 3. With Estela many years ago it was long term back and forth about compas and cante, specifically regarding half compas and solea, and Taranto vs Taranta. I admit I was wrong, only because my personal perspective coming from learning most about cante via the world of DANCE....I had to swallow too much insult that it's Donn Pohren's "fault" or simply mine for being American (eye roll), when in fact it is truly a "fault" of dancers from spain , and their students and employed singers. I realized, after much rejection of the idea, that when she said "compas is different for the singer than for the guitarist"...that she was absolutely right, traditionally speaking. The singer has a freedom the guitarist didn't have...and I had unfortuneately been exposed to a square dance concept such that if so and so sang over the compas any OTHER way, it was simply "wrong", out of compas, and the singer had no clue what they were doing. Admitting she was right about the idea that a singer singing taranto forces an essentially "free" melody INTO the compas for dance, was not easy, but it is exactly correct. I no longer hold it to a singer's ability if they don't "get" the square versions right for a specific choreography. In fact I have since done a full 180, and have to admit it's a sad loss that so many singers have evolved a square boxed in concept of how a melody "should" fit in compas. I hold the dancers orthodox methods to be accountable for the loss of majority of great cante. I also find it sad I can't really relate my thoughts to very seasoned singers that only know their orthodox versions and hold them as THE ancient "correct" way to do it. Those are 3 off top of my head but I am sure there are several other examples. There was a time Jenny Mcarthy could convince me of pretty much anything. [;)]
|
|
|
|