Musical Communication
  • francis
    Posts: 10,677
    I was speaking with a very interesting luthier yesterday at length about a good many topics musical, and he had some fascinating things to share, and I thought I should share them with you here.

    This is one of his many efforts.

    http://musicalratio.com

    Thanked by 3CHGiffen M. Jackson Osborn Ralph Bednarz
  • mrcoppermrcopper
    Posts: 653
    The first essay is quite interesting, and for the most part persuasive. I'm quite skeptical that we all, regardless of length of leg, walk at mm=116 when in a hurry!
  • mrcoppermrcopper
    Posts: 653
    To summarize part I

    1 desynchronize nominal synchronicity
    2 use unequal length sounds and silences
    3 group
    4 group by musical meaning (i'd combine 3 & 4)
    5 aim for speech-like presentation, and use appogiatura-like inflections (cercare)
    (i'd decombine 5 into 2)
    6 distort to draw attention occasionally
    7 jumble to give carefree effect occasionally
    8 use mm=116 or its golden ratio relatives
    9 evaporate moments occasionally
    10 hesitate or anticpate the beat occasionally
    11 use emphasis occasionally

    To summarize part II

    Use all the above in service of an imposed emotional affect, in order presumably to make a re-organization out of the intentional disorganization most of part I recommends.

    My summaries might sound whimsical, but I do believe that most of this is quite true and valuable.
  • FidemInFidebusFidemInFidebus
    Posts: 611
    A very interesting interpretation of a topic as old as music itself. My university owns one of his harpsichords, a fabulous French double manual :-)

    I find it difficult to judge how listeners will react to these things, especially in an age where music and affect seem to be largely divorced from the average listener's experience. The challenge, in my experience, is being confident enough not only in your understanding of affect and and your knowledge of affectual and/or rhetorical devices in the music, but also in your ability to transfer it to performance and be convincing.
    Thanks for posting, this is a very important topic!!!
  • francis
    Posts: 10,677
    FF

    Are you a harpsichordist? I was speaking to Keith about possibly building a viola organista. I am dying to get one as I am convinced I could be performing MANY weddings (and receptions) here if I had one. I was listening to some recordings of his instruments and they sound incredible.
  • FidemInFidebusFidemInFidebus
    Posts: 611
    No, sadly I am not (although my piano background leaves me with zero excuses not to learn) but my accompanist is. I did three selections from Biber's Rosary Sonatas on my senior recital and that harpsichord stole the show LOL! Huge, full sound, but not harsh. My accompanist has an Italian single manual at home and while its "louder", the tone is almost grating on the ears, not suitable for everything you know? The Hill has a sweet sound but not weak, a perfect ensemble instrument. Not to mention this is an instrument that is moved around and roughed up quite a bit, but it's stood up to everything thrown at it and to my knowledge has never needed major repairs. If you have the means, I would get one!
  • ghmus7
    Posts: 1,469
    I'm a harpsichordist, and I can attest to the renown that Keith Hill enjoys in the music-harpsichord world. His instruments truly sing. Mind you, the're very expensive. He is quite brilliant in his harmonic theories.
  • CGM
    Posts: 685
    The viola organista took Zubrzycki *four years* to build. But I'm not sure that was his original plan: he studied every previous attempt, including the fellow in Japan who currently makes them, and found them all to be lacking in terms of beauty of tone (and other technical problems), at which point he decided to make his own. I don't think he's making others, or has plans to sell them; presently, he seems to be focusing on the best rep for the instrument (often, his own keyboard transcriptions of music for viola da gamba ensemble).

    Building your own viola organista isn't for the faint of heart.
  • francis
    Posts: 10,677
    bumped for mrcopper
    Thanked by 1mrcopper
  • francis
    Posts: 10,677
    CGM

    I am actually planning on 3D printing a single prototype action mechanism
    Thanked by 1Continuousbass
  • M. Jackson Osborn
    Posts: 8,369
    I have just now been re-reading and re-inwardly digesting Stravinsky's Poetics of Music. As Stravinsky's thoughts have much that is relevant to this conversation about musical communication, I am commending it to all to read or re-visit. Few write with such purely intelligent potency and with such an understanding of music's ontological dimension, as well as its being a sacred and reciprocal communicative act not only between composer and listener, but between both and God.
    Thanked by 2kenstb mrcopper
  • francis
    Posts: 10,677
    Am reading Poetics MJO. Will report when finished.
  • Ralph BednarzRalph Bednarz
    Posts: 489
    Excellent article: Confirms my mantra: rhythm of the text, rhythm of the neumes, & mora vocis.
  • mrcoppermrcopper
    Posts: 653
    "According to Robert Craft, Stravinsky wrote approximately 1,500 words for the Poetics
    but in verbal note-form: not a single sentence by him actually appears in the book of
    which he is the author. The 30,000-word text was written by Roland-Manual [...] with assistance by Suvchinksy." source, Dr Internet.

    Have no idea, personally, whether this statement is true, but since Stravinsky wrote little else in words of coherence, would think it quite possible.
  • francis
    Posts: 10,677
    Interesting mrcopper. Can anyone else come forward with facts or fiction?
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