2009/5/13 Judy Prince <[log in to unmask]>
> Which Shaksper wrote MNT?
Also the same one who is available (abridged) with Mendelssohn (wedding
march included) till the end of the year at:
http://www.bbc.co.uk/composers/mendelssohn/dream.shtml
I imagine it is one of those things that will only be accessible to people
in the UK though.
There are lots of things theory could say about that, it's performed at the
Middle Temple for instance, but the why it works is another matter.
>
> 2009/5/13 David Bircumshaw <[log in to unmask]>
>
> > It is clear to me that the general drift of comments in this thread
> display
> > an absence of a defined theory of the nature of theory, without which
> > theory, theory theoretically cannot theorised or theoretically be, in
> > theory
> > or not.
> > In A Midsummer Night's Theme we see what can happen if you cavort with
> the
> > theories.
> >
> > 2009/5/13 Judy Prince <[log in to unmask]>
> >
> > > And then there's The Best, Art Tatum:
> > > http://www.youtube.com/watch?v=qYcZGPLAnHA&feature=related
> > > Judy
> > >
> > > 2009/5/13 Douglas Barbour <[log in to unmask]>
> > >
> > > > I admit that I may be wrong in thinking that music theory & poetic
> > theory
> > > > arent quite the same thing. I'd respond to this John, by saying that
> a
> > > lot
> > > > of the 'theory' can only be learned by reding the poems, & then
> trying
> > to
> > > > write the way that excites you most, not copying others' poem exactly
> > so
> > > > much as seeing how those poems do what they do. And to see that, one
> > must
> > > > read poems, a lot of them.
> > > >
> > > > Which is a bit like paying a lot, while also asking questions, like
> > that
> > > > one Miles asked Dizzy.
> > > >
> > > > Doug
> > > > On 13-May-09, at 9:43 AM, John Herbert Cunningham wrote:
> > > >
> > > > Until recently, Dominic, all the great composers were known as great
> > > >> improvisers - Bach Beethoven, Mozart, etc. This meant that they were
> > > able
> > > >> to
> > > >> play by ear and, in fact, because of this skill, they were able to
> > > notate
> > > >> what they heard in their heads. Many composers these days compose
> via
> > > >> mathematical algorithms so I cannot say anything about their ability
> > to
> > > >> hear
> > > >> music. As to Jazz, Andrew, it used to be the case that there was a
> > > certain
> > > >> amount of pride in jazz musicians saying that they were untutored.
> > > Recent
> > > >> investigations and writing on the early and later jazz giants
> > indicating
> > > >> that most of them were schooled in theory. Dizzy Gillespie and
> Charlie
> > > >> Parker would talk for hours about chords and structure. The
> legendary
> > > >> cutting sessions in Kansas City and the same type of sessions in New
> > > York
> > > >> required musicians to be able to modulate their way through complex
> > > >> chordal
> > > >> patterns. Legend has it that Ornette Coleman taught himself theory
> > while
> > > >> operating an elevator in L.A. The joke that others were to tell is
> > that
> > > he
> > > >> got it wrong. This doesn't really matter much as he went on to
> create
> > > his
> > > >> own harmelodic theory. So whether classical or jazz, if you want to
> > > >> compose
> > > >> then you'd better have your chops down. I think the same works for
> > > >> poetry.
> > > >> The better a poet you become, the more you've paid attention to
> > literary
> > > >> theory and the more poetry reflecting this theory you've read never
> > mind
> > > >> the
> > > >> time spent trying to figure out what another poet is saying and
> what
> > > the
> > > >> thing is in the way that say it that makes that poem and poet
> > effective.
> > > >>
> > > >
> > > > Douglas Barbour
> > > > [log in to unmask]
> > > >
> > > > http://www.ualberta.ca/~dbarbour/
> > > >
> > > > Latest books:
> > > > Continuations (with Sheila E Murphy)
> > > > http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
> > > > Wednesdays'
> > > >
> > > >
> > >
> >
> http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10.html
> > > >
> > > > and this is 'life' and we owe at least this much
> > > > contemplation to our western fact: to Rise,
> > > > Decline, Fall, to futility and larks,
> > > > to the bright crustaceans of the oversky.
> > > >
> > > > Phyllis Webb
> > > >
> > >
> >
> >
> >
> > --
> > David Bircumshaw
> > "Nothing can be done in the face
> > of ordinary unhappiness" - PP
> > Website and A Chide's Alphabet
> > http://www.staplednapkin.org.uk
> > The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
> > Leicester Poetry Society: http://www.poetryleicester.co.uk
> >
>
--
David Bircumshaw
"Nothing can be done in the face
of ordinary unhappiness" - PP
Website and A Chide's Alphabet
http://www.staplednapkin.org.uk
The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
Leicester Poetry Society: http://www.poetryleicester.co.uk
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