tag:blogger.com,1999:blog-6980672.post5621508989041236204..comments2023-10-08T08:38:09.714-04:00Comments on Musical Perceptions: Intelligible scoresScotthttp://www.blogger.com/profile/01286095156825716887noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-6980672.post-3108930589104856812007-10-22T22:47:00.000-04:002007-10-22T22:47:00.000-04:00I'd say that a score of a Mozart Symphony is indee...I'd say that a score of a Mozart Symphony is indeed a set of "instructions," but those instructions are unusual because they tell you how to pace and divide units of time. There are also horizontal and vertical arrangements of pitches that do not change and are written to be distributed in a specific way among the various voices required to perform the piece, and there are directions concerning dynamics and articulation.<BR/><BR/>You can feed these elements into a computer program and get a plausible reproduction of Mozart's directions, and even recognize them as a kind of "photograph" of a specific piece of Mozart.<BR/><BR/>I think that "Mozart" is in the directions, and people playing Mozart's directions have a chance to get inside his long-dead head and let the music as represented on the page exist in time and space, after being given life by playing it.Elaine Finehttps://www.blogger.com/profile/14248422399226824168noreply@blogger.comtag:blogger.com,1999:blog-6980672.post-26106459052205561172007-10-22T22:05:00.000-04:002007-10-22T22:05:00.000-04:00Your view is much like David Lewin's phenomenology...Your view is much like David Lewin's phenomenology theory, where any interaction with a piece is making a new version of it. It could be performing the work, composing it, analyzing it, or listening to it. Each of these activities creates a new version of the work in the mind of the actor. I like your image of "common points of contact and departure." It opens up all sorts of possibilities for communication and experiences.Scotthttps://www.blogger.com/profile/01286095156825716887noreply@blogger.comtag:blogger.com,1999:blog-6980672.post-82506461167028436912007-10-22T20:26:00.000-04:002007-10-22T20:26:00.000-04:00When you start pondering what, exactly, a piece is...When you start pondering what, exactly, a piece is, or where it is located -- in the score, or a performance, or all performances that meet the requirements of a score, or some ideal of which each of these permits only a glimpse -- one might be tempted to become a platonist and identify "the piece" with an unheard ideal form. Personally though, as something of an intutionist, I prefer the idea that there is no "the piece" rather many pieces, constructed in time, with each new reading or performance, a work in progress for each individual listener. Instead of ideal forms, there are only common points of contact and departure among the community of listeners.Daniel Wolfhttps://www.blogger.com/profile/09093101325234464791noreply@blogger.com