Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
RE: Flamenco and Classical guitar duet
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
  
runner
Posts: 357
Joined: Dec. 5 2008
From: New Jersey USA
|
 RE: Flamenco and Classical guitar duet (in reply to Ruphus)
|
|
|
Ruphus' post points out that I need to clarify Meyers' timeframe in regard to listening to some specific piece of music: when he says we predict what notes we expect to hear next based on what we are hearing and have heard, Meyers refers to a short timeframe very close to the actual moving sequence of notes in the piece as we listen. Longer-term concerns are more associated with issues of mood and style of the composer, performer, or genre of the piece being listened to. The short-term emphasis is especially potent when we hear a piece for the first time; the longer-term concerns will also always be in play. We may not have heard a particular piece by Brahms, but his propio sello may be well-known to us, and that will also color our reaction.
A striking example of the importance of expectation and prediction in music is the total collapse of both serialism and indeterminacy (aleatoric music) worldwide. Both these musical schools destroyed utterly the ability of a listener to make any prediction at all, ever, about what the next note or note sequence might be. The result was that, except for the tiny handful of composers supported by sinecures in college music departments, people in droves failed to recognize the product as music. They certainly refused to pay to hear such sounds, with the result that Milton Babbitt of Princeton sourly proposed that serialists and their kin compose music only for each other--nobody else was "getting it".
Hope this clarification helps.
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 10 2014 23:46:58
 |
|
guitarbuddha
Posts: 2970
Joined: Jan. 4 2007
|
|
RE: Flamenco and Classical guitar duet (in reply to runner)
|
|
|
quote:
ORIGINAL: runner
Ruphus' post points out that I need to clarify Meyers' timeframe in regard to listening to some specific piece of music: when he says we predict what notes we expect to hear next based on what we are hearing and have heard, Meyers refers to a short timeframe very close to the actual moving sequence of notes in the piece as we listen. Longer-term concerns are more associated with issues of mood and style of the composer, performer, or genre of the piece being listened to. The short-term emphasis is especially potent when we hear a piece for the first time; the longer-term concerns will also always be in play. We may not have heard a particular piece by Brahms, but his propio sello may be well-known to us, and that will also color our reaction.
A striking example of the importance of expectation and prediction in music is the total collapse of both serialism and indeterminacy (aleatoric music) worldwide. Both these musical schools destroyed utterly the ability of a listener to make any prediction at all, ever, about what the next note or note sequence might be. The result was that, except for the tiny handful of composers supported by sinecures in college music departments, people in droves failed to recognize the product as music. They certainly refused to pay to hear such sounds, with the result that Milton Babbitt of Princeton sourly proposed that serialists and their kin compose music only for each other--nobody else was "getting it".
Hope this clarification helps.
Hey Runner. Did you read my post ?
There may be some fundamentally easier number crunching going on in major key music at a wetware level pre conditioning the preference for which can and has been measured in children.
As for inventing a language I think there may be more Klingon speakers than speakers of Esperanto. Perhaps if Babbitt et al had looked more cool like Klingons then more people would speak their language. It worked for System of a Down.
Steven Pinker is at his least irritating when he talks about the spontaneous nature of language generation in his book 'The Language Instinct' although he dismisses any genetic advantage to music making I think that his logic holds with regard to music also. Any language cooked up in a lab is limited by the charisma of its inventors and probably won't outlive them.
D.
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 10 2014 23:54:20
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.078125 secs.
|
Printable Version
