Hi Roland, Methinks today's deafening musak has dulled the creative instinct in many a potential musician, tending to imitate rather than creating new forms of music.
The musicians of old were trained in the parochial schools where training in harmony was imparted, besides choral singing and some instrumental training. Today the need for this type of training no longer exists, as church liturgy is no longer in latin and the "sung" liturgy is at a minimum, so the need for a trained "mestre da igreja" is a dying breed, if not dead already. Today's tribe of Goan musicians has little overall training, as everyone chases the English system of musicianship (TCL and RCM) which often follows a narrow branch of specialisation into one or at most two instruments (with some theory thrown in), as compared to the continental (or latin-european) format which is based on solfeggio and training in harmony alongside instrumental training. And note that the Mando is not a 3/4 waltz time as incorrectly played by many bands, but has its own peculiar 6/8 (or as some say, 6/4) pattern. Cheers, Gabriel. --- Roland Francis <[EMAIL PROTECTED]> wrote: > Pardon my ignorance of the Goan Mando, but it > appears to me that I > hear today the same mandos I have been hearing from > the age I was old > enough to appreciate music (make that 5 years old). > > Haven't any Goans added to the repertoire of that > music in the > intervening years? Where have all the Goan musicians > gone? Have they > not been able or skillful enough to have added to > the old compositions > of our fathers and grandfathers? > > Have Goan musicians somehow gone brain-dead? The > excuse that they have > concentrated on other strains for daily living or > lucrative purposes > does not cut any ice. For example If Remo had made > it big on the > Indian scene could he not give back something to > Goan music? > > Basilio Magno and peers, hear me? > > Cheers > > Roland Francis > Send instant messages to your online friends http://au.messenger.yahoo.com
