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Date: | Mon, 13 Mar 2000 21:47:37 +0000 |
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James Kearney wrote:
>Yesterday I learned a lot from the first episode of British composer Howard
>Goodall's new 5-part series "Big Bangs." For instance, I didn't realise
>the significance of Guido Monaco of Arezzo, who invented the principles of
>music notation in the eleventh century. Goodall also commented on the way
>computer tools like Sibelius will have as profound an influence on music
>composition and publication as the invention of printing.
I also saw this and although I found Goodall's presentation annoying at
times I do think he got his material across rather well. I shall certainly
make a point of watching the next four episodes. Goodall had another
series a little while ago provocatively entitled "Goodall's Organ Works",
which probably tells you all you need to know about his jovial style.
I do take issue with his point about Sibelius etc. (the music software,
not the composer!) He quickly demonstrated how notes could be entered onto
a score from the computer keyboard, and then moved on to show how he could
also input music directly from playing an electronic keyboard (instrument)
onto the screen and then to a printed score. He showed that the software
picked up every detail of his performance and therefore notated rhythmic
inaccuracies etc. to produce a much more complex printed part than he
would have written by hand in the old-fashioned way. He then argued that
this more-than-necessarily-difficult score would not be usable by most
practical musicians, and that the result of widespread take-up of Sibelius
et al would be to produce an elite of "literate" musicians who could cope
with such things, while the rest got along without the benefits of written
music. Now I don't know the recent versions of Sibelius, but I imagine
they contain some sort of quantize function that ignores small deviations
of rhythm etc. and rounds things off to the nearest eighth-note, or
whatever - i.e. doing automatically exactly the kind of editing process
that Goodall demonstrated note-by-note to turn his high-precision score
into a more performer-friendly version. I haven't yet had the opportunity
to read Goodall's argument in full in the book of the series, but it seems
to me that he produced a gross distortion of the value and impact of
Sibelius etc. in order to produce a neat finish to Episode One by
Comparing his idea of a new electronic elite to the small numbers of
monks who preserved the plainchant tradition during the Dark Ages.
Ian Crisp
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