Which Shaksper wrote MNT?
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
>
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