On Mar 3, 2008, at 5:16 AM, Rob MacKillop wrote: > ...Gesture is important in all music, be it blues, > jazz, or French Baroque, and I feel that composers did not notate > it simply > because it was hard to capture on paper without performers making > it sound > too automated, > Much like swing in jazz. > > We have a big problem here. Ever listened to classical musicians > playing > jazz? The notes might be right, but the feel is different from a > 'true' > jazzer, someone who has grown up with the whole sound world. But > students of > jazz can listen to recordings, go to gigs, have lessons with these > players. > We can't. And when it comes to something as subtle as dotting in > French > baroque, we naturally find it very difficult, and don't necessarily > know > when we have got it 'right'.
Jazz musicians have their own issues with period performance practice when they play be-bop. Even with all the recordings available, and the influence of bandleaders and soloists from back in the day, there is still plenty of disagreement on how be-bop "should" be played. > So we have to be practical. Experiment. Play what we feel is right. Let's not forget Lully and his mace. I think we can do whatever we like between the pulses, but the pulses themselves have to be rock solid. Baroque music is supposed to reflect the architecture of the day. Look at Versailles: what does it look like on the outside? what does it look like on the inside? DR [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
