Friday, July 25, 2014

The World of Music - As Seen Through the Eyes of One of its Inhabitants...

I have written about 560 blogs since beginning them in 2007, mostly  in representation  as a  musicologist, spasmodic composer and at times a fulfilled  performer, with an occasional dip into the well of history.
Today, I realize that I rarely, if ever, have delved into the wonders of  that which I  am most assiduously attached  to:  that is, the art and  attending  wonders and rewards of  Sharing  one customarily calls Teaching.
And so I have decided to delve into my world of reaction  to and  experiences with  some of the teachers I studied with:
There will be no names of teachers; only the internal issues of  recognition of import and their ways of  making their import known to me.
For example: in Performance, I studied with several teachers, some known world-wide.
One would deal primarily with the overriding priority we call Technique. His modus operandi was, simply,
"what good is attempting to portray the idea without possessing the digital requisites to project that idea? An extremely  musical entity is a useless entity without the weaponry to make that idea come alive."
Another teacher, well recognized,  prioritized the ways of dealing with those notes to make the idea come alive, if the technique was extant. And so here was the opposite premise; namely, "even if  the performer was virtually incapable of playing a wrong note, what worth is there if he or she was not born with that priceless gift of making music come to life?"
One or two teachers dealt with both aspects, but made sure that the student chosen was indeed gifted with an item no teacher can teach; that is, the gift of being musically endowed. And so, their screening process with potential students was vertically relentless in searching for that indefinable gift.
And, in Music Analysis; that is, uncovering the linguistic secret given to the written note was a fascinating bevy  of interests and issues to me.
For example, one teacher insisted that there was a specific reason for the existence of each and every note written. In even a scale passage he would insist that "this note is a passing tone - that note is an accented passing tone - this note is an appoggiatura  - that note is a chord tone"  etc.
Other teachers would be more liberal, and in sweeping and  more generalized ways  they would  accept my answers to the reason for the notes being analyzed.
And there are other aspects connected with the language of music; however, I will go no further, simply because the above experiences are being shared with you to prove and certify one reality about Learning; and that is, the word Perspective is the most valuable asset in the learning process - mere linear absorption is only the beginning of the process we call Learning.
And when I teach, the word "why" is,  in ongoing constancy, held up to the light.

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