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Joined: May 2005
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Originally posted by Antonius Hamus: Originally posted by Derulux: [b]For most people, hearing is 90% visual. Some of you may never have been subject to any of the "quick joke/tests" that prove this and may find it hard to believe. Ask anyone else if they've ever done this: You tell someone to do exactly as you say. You tell them to make a fist, while showing them that you're making a fist. Then you tell them to put their thumb up while putting your own thumb up. Then tell them to point with their index finger like a gun, while you do the same. Then you tell them to touch the tip of their fingers together to make a little circle while you do it. Then tell them to put it on their cheek while you put it on your chin. 90% of people you do this to will put it on their chin...they could swear you said "chin", but in fact, you said "cheek". I would say that that, also, is rather about expectation... [/b]That is, the "subject" has come to expect you to say the word that relates to the action you make (that is also why the "joke" needs all that repetitive stuff *before* the action/word-mismatch-thing at the end, and doesn't work without it).
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Joined: Mar 2005
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DERULUX:
The example of putting your your thumb up and down and so on is interesting, and I believe you make a good point--my point, in fact. My point, exactly.
But you don't relate it to the discussian at hand until your last paragrah;
"But if you want an answer to the question, "Does it work [in reality]?" The answer is a resounding no, and I think time would be better spent hearing the music and playing what you want to hear than trying to visually alter someone's perception of what you're actually doing."
Isn't the better question, "Does it work artistically?" To which, citing your illustration of the thumb up and down, I answer, "It certainly can, it certainly has possibilities."And why ignore them? Why not work on them? Why not practice them as we practice fingerings?"
If 90% of people listen with their eyes, as you claim, seems to me we'd better pay attention.
It also seems to me, that buried in the subtext of your last post, you are suggesting there is something in stagecraft that is beneath the dignity of piano artistry.
Am I right? If so, I don't get it.
Tomasino
"Whatsoever thy hand findeth to do, do so with all thy might." Ecclesiastes 9:10
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Joined: Jun 2005
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About your "missing a note" -mystery... If the listener sees the player miss a note, then shouldn't he also hear him miss the note?
Sure, but only about 10-15% of a concert hall is in such a position, and it varies throughout a piece as the hands are blocked by the body at different times. Not to mention that, in "Mary Had A Little Lamb", spotting a wrong note is easy, but in a fast and furious piece like the Rach 3, watching every single finger all of the time is impossible. And I replied 'white', because my mind was, for some reason, unconsciously waiting the list of white things to continue, or because of some other similar reason, which had nothing to do with any visual clues (there were no visual clues)... Actually, this is also linked to visual memory, however there is also the expected-unexpected principle which, believe it or not, similarly helps to back up the theory of "hearing a note that wasn't there" that I talked about first. I found the rest of your post good stuff (except for one inconsistency, which you'll have to find yourself, now that you've probably slept better than you had before you wrote some of that stuff ).I haven't slept since Saturday...I'm surprised any of it made sense. (In fact, I'm probably going to crash in an hour or so and sleep until tomorrow afternoon. :p )
Every day we are afforded a new chance. The problem with life is not that you run out of chances. In the end, what you run out of are days.
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Joined: Jun 2005
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5000 Post Club Member
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It also seems to me, that buried in the subtext of your last post, you are suggesting there is something in stagecraft that is beneath the dignity of piano artistry.
Am I right? If so, I don't get it. Crap...actually I think I might be double-posting...sorry if I am. (This is how tired I am.) I'm not suggesting stagecraft is beneath a performer. In fact, it is arguably the center of a performer, but I am saying why settle for "visual trickery" if you still haven't completely developed in your ability to play the music? Why "fake" it if you have the ability to learn it in reality? Dammit, I had a better way to say it when I hit reply, but I'm a little wired and can't remember the words I was going to use. Let me sleep on it if you're still confused after the above. Hopefully with some rest, I'll be more clear in my meaning.
Every day we are afforded a new chance. The problem with life is not that you run out of chances. In the end, what you run out of are days.
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