I would have to disagree. The notation has to serve the needs of the
music, and frequently, the needs of the music are best served by not
trying to specify every last thing. Sure, *some* music requires that
degree of detail, but if in many cases, you *want* to give the
performers (and the conductor, if there is one) freedom to shape the
music in a way that makes sense to them.
If you'd said, "the notation should be as *clear* as possible," well,
okay, who's going to disagree with that? But often a composer wants a
certain degree of inexactitude and ambiguity, recognizing that there
is not just one single ideal way to perform his or her piece, and
also that it's possible to reach a point of diminishing returns when
you tie the performer down to an overly fussy score.
Beginning playwrights often go way overboard on the stage directions,
trying to effectively "direct" the play from the stage. Most mature
playwrights write only those stage directions that are absolutely
necessary, trusting that their dialog will convey the necessary
information.
Cheers,
- Darcy
-----
[EMAIL PROTECTED]
Brooklyn, NY
On May 6, 2007, at 7:44 PM, John Howell wrote:
When it's a question of ensemble stylization, perhaps we do
disagree. If there's one principle I think most on this list agree
on, it's that unless an aleatoric approach is part of the concept,
the notation should be as exact and unambiguous as possible.
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