>>the cardiovascular responses were seen even in the absence of emotional responses to the music and altered breathing was not necessary to see cardiovascular effects.<<
Sunday, June 28, 2009
Tuesday, June 23, 2009
Having you take care of the rhythm allows everyone else to ease into the flow and be more musical in other ways. It makes the rhythm more solid, but it also allows it to be more complex as we all react to it in different ways. I want to say it's like framing a painting, but it's way more than that. More like the armature in clay.
Not having you here was a revelation that the tubas and baritone weren't getting their instruments to speak with good tone right at the instant of the downbeat, because with you there's no need as you've been filling that instant with various percussive sounds. They're picking up the slack nicely, and it's good practice for them, but with you, it's all much easier.<<
Monday, June 22, 2009
>>"When a person expends the least amount of motion on one action, that is grace."
Anton Chekhov, letter to Maxim Gorky (Jan. 3, 1899)<<
I keep having the notion that gesture is a primal aspect of music making that's not often talked about. It seems to be the best way of talking about how emotional content is communicated from music maker to audience. This quote helps me think about how some music makers communicate better than others. No matter what emotion the gesture is meant to convey, the less extraneous motion, the better it will probably be conveyed to most audience members.
It also ties into the notion of authenticity.
Tuesday, June 16, 2009
Saturday, June 13, 2009
Here are the players for our 4th of July performances at the Picnic in the Park. Front row, that's Gabby on the left with her baritone and Bill C. on the right with "Boris" the tuba, with me and the banjo in the middle. Second row is Bill B. with soprano sax and Maggie with clarinet. Third row standing, on the left in his straw boater with his tuba is Crawford and Dick with his trumpet on the right.
Thursday, June 11, 2009
>>The problem is that acoustic performers rely on the audience's attention and focus and can tell when the audience isn't mentally present. Your listening is part of our interpretive process. If you're not really listening, we're not getting the feedback of energy from the hall, and then we might as well be practicing for a bunch of people peering in the window. It's just not as interesting when the cycle of interpretation is broken.<<
Tuesday, June 9, 2009
Friday, June 5, 2009
Tuesday, June 2, 2009
Noël Coward, "The Art of Acting" (The Listener, Oct. 12, 1961)