David, I mentioned Richard Taruskin simply because I took your view to be similarly out of the mainstream of HIP thinking as his is. Namely, that generally HIP performances truly represent a far more modern, than historical approach and aesthetic. I don't know if the other writers you refer to have similar views, not having read them, but RT has come in for extensive criticism from the early music world for his views.
On May 7, 2011, at 5:39 AM, David van Ooijen wrote: > On 7 May 2011 11:23, Gary Digman <[email protected]> wrote: >> I don't know what exactly you mean by "gratuitous". I assume you did not > > Gratuitous dissonants are dissonants outside the frame of reference > for the listener, and therefore without obvious meaning, or usefulness > to him/her. The 'there's no point but to shock' reaction. > A Medieval listener to organum would be shocked by thirds on strong > beats, and no doubts think a third in a final chord outrageously > gratuitous. > What for Wagner was common harmonical language might be gratuitously > dissonant to the casual Baroque listener. > As a point in case: my classical guitar teacher didn't like jazz > because of all those unresolved sevenths! ;-) > > David - who forgot to mention Wodehouse, Dogen and Milne, to whomever > it was asking for his literary inspiration > -- > ******************************* > David van Ooijen > [email protected] > www.davidvanooijen.nl > ******************************* > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
