On Wednesday, February 9, 2005, at 12:42 PM, Phil Daley wrote:
At 2/9/2005 11:54 AM, Chuck Israels wrote:
I am acutely aware of the physics involved in music - always, albeit at a subconscious level that some might describe as trivial.
As I am planning sounds - is the piano lid open or closed, French Horns face backward and spread their sound, gut strings sound different than steel, French double reed players adjust the reeds to make a different sound, etc. To me this is physics. It has become intuitive, but it's still physics. It is a also a matter of psycho-acoustics that leads those who want to write "non-harmonic" music to eschew powerful bass notes whose overtones are in the most sensitive part of human hearing so that they tend to lead the listener to hear harmony. To me, that's physics too, and ignorance of it would not improve my music. My 2c.
That's sounds like a "composer" perspective to me.
I thought we were talking about performers?
In jazz, the line between composing and performing is blurred. It's for this reason that I am not really "getting" this discussion at all.
But, some performers have to do a lot more thinking about the physics of sound than others.
I think so, too.
Which leads into one of my most favorite rehearsal stories:
Heh, heh, very good!
Christopher
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