Subject: Re: Source, Observances, etc
From: KEVIN AUSTIN (KAUSTIN@vax2.concordia.ca)
Date: Sat Jul 31 1999 - 09:48:51 EDT
pal <firstname.lastname@example.org> continued:
>KEVIN AUSTIN escreveu:
>> Electroacoustics education faces the same challenge: how to help the
>> student (aren't we all students?) cease hearing the 'symbol' of the
>> object, and seeing 'what is really there'. Enter into the two dimensional
>> world where there is no 'cause and effect', there is only "is".
>Shouldn't be so difficult for someone trained within Western tradition:
have we >not been taught that semantics = syntax
I may be too old to remember clearly, but I can recall only one of my
teachers talking about semantics or syntax ... a brilliant woman who
insisted on examining Bach chorales, starting from the setting of the
text. (Lauretta Renshaw as I recall?)
>> A recent question from very skilled and highly gifted visual arts student
>> focused me (back) into the 'how' of teaching the art of 'seeing what is
>> there' (or rather, hearing). To hear the ocean and not think water.
>IMHO, this is an existential exercise. However, when it comes to musical
>listening, sure the water counts!
Agreed about part 2 ... but I have some difficulty fully embracing part
1. In the Beethoven 7th Symphony, the oboe counts, but I'm not sure that
I can express (in words) what it means.
A typographer learns to look at curve and line of letters over and above
their (verbal) semantic value. I do not feel that this is an existential
exercise: it is, IMV, another facet of perception which students need to
be strongly encouraged to encounter.
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