shirling & neueweise wrote:
Christopher Smith wrote:
Maybe musicians read musical notation more easily than they read text
indications. I noticed later that the marking "stacc." was largely
ignored on the first reading (sight reading, of course, as prepared
parts in an orchestral context would most likely have been looked at
before the first rehearsal) whereas actual dots over all the notes was
played properly.
Richard Smith wrote:
The hairpins are more obvious and usually more accurate.
yeah this also has to do with the complexity of the visual elements you
are looking at. a hairpin has two long lines that are present and quasi
parallel (extremely similar) over the entire duration they apply to and
even reading them peripherally it is extremely easy to process, while a
cresc. has 6 separate characters in 5 different forms and the only thing
[snip]
I have to say that I find this discussion about hairpins vs.
text very interesting -- it supports what I find in my
community band and private teaching, where the words are
often simply ignored.
As I say, I find it very interesting because I've never had
a problem reading and executing the words as well as the
graphical elements, and am puzzled when others don't/can't.
I do remember my private teachers in high school and again
in college making a big issue about expanding what I see and
react to, so quite possibly there was a time when I didn't
pay as much attention to the words, but that would have
included the hairpins as well.
For whatever reason, it's been so long that I haven't
responded to all the markings, text or graphics, that it is
interesting all this explanation justifying why the text is
ignored.
I don't see 'cresc.' as 6 elements to be deciphered, and I
don't read any text one letter at a time (does anybody?) --
I perceive 'cresc.' as a single element with the meaning
that I am supposed to increase the volume at which I am playing.
--
David H. Bailey
[EMAIL PROTECTED]
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