On 24 March 2018 at 11:25, Flaming Hakama by Elaine < ela...@flaminghakama.com> wrote:
> > On Fri, Mar 23, 2018 at 4:24 PM, Tom Cloyd <tomcloydm...@gmail.com> wrote: > >> Hogwash? Well, not really. Your point about what is possible is fine. I >> don't disagree. But my point remains, and my error was in not making it >> clear enough. I'll try again. >> >> It has to do with cognitive load and the concept of "limited attentional >> workspace", a key concept in cognitive psychology. >> >> Re: cognitive load: I'll wager that many of us are not exactly fluent in >> Lilypond. I'm certainly not. Using it is fun, >> > > > I'm not sure I'd go that far! It does amazing things, and that can be > rewarding. > > > >> but definitely requires thought and effort. Notating my developing score >> by hand is VERY much less effortful. Thus it imposes much less of a >> cognitive load. >> >> Re: limited attentional workspace: One of the best validated concepts in >> cognitive psychology is the idea that we can only keep a limited number of >> "things" in our consciousness at any one time. Our attentional workspace is >> seriously limited. >> >> So here's the point, given those two ideas: If one is not fluent in >> Lilypond, then it imposes a non-trivial cognitive load on us, reducing the >> energy we have to do other effortful things, such as create the music in >> our mind without recourse to an instrument. Furthermore, the sheer number >> of elements to track in a developing Lilypond program places real demands >> on our attentional workspace. >> >> Thus, I argue, NOT using Lilypond during the most creative part of >> composition give us much more cognitive reserve, of both sorts, for >> composing, including the part involving working without an instrument to >> "hear' the music on. >> >> I hope I'm making more sense now! >> >> Tom >> > > > > Thanks for clarifying your point. > > Yes, I agree. If the tools you are using are not familiar and > comfortable, then fiddling with tools will distract you from the important > work of composing. > > And I will readily admit that I much more enjoy writing on paper at a > piano than any other way! > > But once you are familiar enough with the tools, there are fewer reasons > to avoid using them for composing. Beyond that, you actually can gain some > benefits by "auditioning" things more robustly when composing directly in > notation software, in particular things you can't play on piano. And of > course, you save a little time since you don't have to re-enter some of the > material. > > > Thanks, > > David Elaine Alt > 415 . 341 .4954 <(415)%20341-4954> > "Confusion is highly underrated" > ela...@flaminghakama.com > skype: flaming_hakama > Producer ~ Composer ~ Instrumentalist > -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= > -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- > > > _______________________________________________ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > Lilypond, a piano, a good inner ear (which I’m lucky to have), or whatever the kids are using these days are all just tools. I’d be wrong to say a piece of mine is superior to *The Rite of Spring* because Stravinsky worked it all out on a piano and I use my inner ear. In this case, the destination is more important than the journey. But whatever you use, it’s important that you have as much mental capacity as possible available when composing, because composing is really hard. If it isn’t hard, you can probably do better. Vaughan
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